The 10 Most Essential Roles On A Film Crew

The 10 Most Essential Roles On A Film Crew

After making the decision to make movies, I researched all the different crew members needed on set to make a movie.  I was surprised to realize that we were already doing what most of the positions needed while working at the photography studio, and that I knew someone that could fill each of those roles. 

Here is a list of the crew members* that are most needed during filming.  This is based off of making a small to no budget independent movie; no blockbuster special effects here!  

* I'm not posting the writer (which is the most important role- story is everything) because filming has now started; the script is done (hopefully). And the actors aren't included because we are just looking at the crew members.

1.  The Producer

The producer gets $h*t done.  They can help develop story, find financing, and sign off on all major decisions. In a BIG HOLLYWOOD STUDIO™ production, the producer gets all the little ducks in a row and heads off for other projects, just checking in from time to time for the Powers That Be, aka The Money. Producers find great material and/or talent to tell a story he or she believes in. 

Being a producer is great for someone who is organized and great at budgeting and dealing with people.  Because you have to deal with ALL the people and ALL the money (or lack thereof).  You have to remember all the details and look at the bigger picture.  

2. The Director

The Director is basically the same on all budget sizes.  They are the one whose vision is being created.  Even if they didn't write the material, its still their interpretation of this vision.  A great director is someone who knows how to clearly communicate and knows how to work with people. From shot lists to scene breakdowns, set decorating to which use of lens, great directors see everything through and through; down to the packaging and rendering of a film, what colors an actor looks great in and how the camera dances within a scene. There's a lot of leadership, creativity and self-awareness in this role. 

3. The Assistant Director (or AD) 

The AD runs the set; they set up the scene breakdowns, help with budgeting (more on that later), keeping everyone on set where they need to be, making sure safety is ensured and that all documents are signed.  This person is super-organized and detail oriented and has excellent time-management.  

4. Director of Photography (or DP)

More commonly known as cinematographer.  The DP works closely with the Director to bring the story to life visually.  On bigger productions, there might be a separate camera operator. Sometimes on a small budget, the director will have to operate the camera.  Even though having a DP is a luxury, it's one that should be taken.  Having someone to focus on that one aspect will lead to a better finished product.

5. Line Producer

 On a movie's budget, the producer, writer, director and actors' fees are all called above the line.  Those are considered the essentials.  The rest of the crew and all other fees are called below the line; they are considered replaceable.  The line producer helps ensure that the budget is being met and helps with the hiring of key crew members.  They also set a daily budget and works with the AD to ensure it is met.  If you are great with numbers and puzzles, this is the role for you! 

6. Production Designer

Works with the director to set the visual tone for the movie.  Everything needs to work for the story.  They work with color and texture to set the tone for the movie.  They pay attention to detail and are super creative. On larger sets, production designers are actually the managers of art directors and other art departments. 

7. Script Supervisor

The script supervisor is the quality control of the set.  They document what has been filmed and what was added or cut from the script.  They make sure there is continuity, meaning that each take is set up the same way and that if a character is wearing a particular outfit in a scene, they need to be wearing it in any scene that takes place the same day.  Attention to detail and patience are key for this role. 

8. Grip/Gaffer

These are two roles that are different but are often lumped together.  The grip handles all equipment- the set-up and transport.  The gaffer handles everything electrical.  Attention to detail and safety are big factors.  

9. Production Assistant (or PA) 

The PA handles anything that needs to be do on set.  That could be running errands for the director to helping the set designer to chasing down the actors.  This really gives you a little taste of everything on set, so it's great for students and people just wanting experience.

10. The Editor

Even though most editing won't be done until after the filming is complete, having someone to start going through footage and logging the best footage will help the process.  Having someone who understands great storytelling and has an eye for detail can make an okay story great.  

There are so many more roles that put a movie together: sound, costume designer, hair and makeup, etc.  Whether there is $20 or $20 million dollars involved, there are still the same amount of pieces to put into the puzzle.  The budget just helps you figure out how many players you can hire.

 In independent filmmaking, multitasking and organization are pivotal. It's just like running a business.  Knowing how to do all the roles will help you when you can hire people to fill those positions, so you know you've hired the best.

Film Crew Position Titles List: Camera, Light & Sound Department

Film Crew Position Titles List: Camera, Light & Sound Department

  

Camera Department: Film Crew Names 

1.    Director of Photography (DOP)

Responsibilities- They work directly with the Director to decide the overall look of the film seen through the camera. They decide which lenses to use, lighting setup, framing, etc.

Salary- Depends on skills and experience.

2.    Camera Operator 

Responsibilities- The camera operator physically controls and operates the camera, the shot’s framing, and the camera movements as instructed by the DOP.

Salary- Depends on skills and experience and budget.

3.    Camera Assistant

Responsibilities- The camera assistant helps setup the camera and lenses. He is in charge of measuring and pulling focus during filming.

Salary- Rs. 20-30000

Light Department: Film Crew Names

1.    Gaffer

Responsibilities- Gaffer develops a lighting plan according to the desires of the DOP. The gaffer decides where and which lights are to be placed.

Salary- Depends on skills. Average Rs. 2 lakh

2.    Grip

Responsibilities- Grips’ responsibility is to “shape the light” which includes creating pattern and shadow effects, coloring light, diffusing or blocking light.

Salary- Depends on skills.

Sound Department: Film Crew Names

We have already written a detailed article on all the personnel in the sound department. Check out that here 

Two of the key personnel are-

1.    Production Sound Mixer–

Responsibilities- He is responsible to record all the sounds in a film set or location. He decides which microphone to use and also the microphone positions.

Salary- Rs. 10-20000 per day.

2.    Sound Re-Recording Mixer–

Responsibilities- Mixing is the last stage in creating the final Soundtrack of a film. A Re-Recording Mixer combines all the components of sound and mixes them.

Salary- Rs. 30-40000 per day with studio charges.

TV and Movie Jobs: Every Film Crew Position and Job Description

The Producer runs the filmmaking business as they help the screenwriter write the script, casting directors to find the cast, hire the crew for the production, and find the money to make the movie happen.

Have you ever wanted to know what all the crew jobsneeded to make-up a movie, TV show, or commercial are?

Check out this list of Crew Positions and job descriptions!

Hopefully, if you were ever interested in joining the film/tv industry, then this will give you an idea of each of the crew members’ responsibilities.

Crew Positions

Production Office

The production office is referred to as the “front office” and includes staff such as the production manager, production coordinator, and their assistants; the accounting staff; the assistant directors; sometimes the locations manager and assistants. The following are jobs within the production office:

• Production Manager – supervises the physical aspects of the production (not the creative aspects), including personnel, technology, budget, and scheduling. It is the production manager’s responsibility to make sure the filming stays on schedule and within its budget. The production manager also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs.
• Production Coordinator – the information nexus of the production. Responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The production coordinator is an integral part of film production.
• Assistant Director (1st and 2nd) – assists the production manager and the director. Generally, in charge of overseeing the day-to-day management of the cast and crew, including scheduling, equipment, script, and the set.
• Production Assistant – assists the first assistant director with set operations. Production assistants referred to as “pa’s.” They also help in the production office with general tasks.
• Script supervisor – The Script Supervisor is also known as a “continuity person” who keeps track of what parts of the script have been filmed. The Script Supervisor makes notes of any deviations between what the director filmed and what appeared in the script.

Lighting/Electrical Department

• Grips– the grips are the lighting and rigging technicians. They function as a cross between a mechanic and a construction worker on the set. A grip’s job responsibilities include: working closely with the camera department, especially if the camera is mounted onto a dolly or crane; work closely with the electrical department to put in lighting setups necessary for a shot. Grips do not work on the lighting (they are not technically electricians) but handle all other essential equipment. Grips are responsible for all “rigging” on the set, including lighting equipment rigged over actors and crew, working with pulleys, steel cables, accountable for all safety on the film set as it relates to the material they work with on the production.There are several grip positions:
• Key grip – the foreman of the grip department. Overseas the work and responsibilities of all of the grips on the set.
• Best boy grip – assists the key grip but assumes more responsibility for the hiring and scheduling of the crew; oversees the rental of the equipment on the set.
• Dolly grip – operates the camera dollies or camera cranes.
• Gaffer – head of the electrical department (sometimes called the chief lighting technician). Works closely with the director of photography and oversees the work of the assistants;
• Best boy electric – assistant to the gaffer. Generally responsible for the daily running of the lighting, hiring, and scheduling of the crew, coordinating the rigging crews (depending upon the size of the production).

Art Department

The art department is responsible for the overall look of the film. In a notable movie, it can include hundreds of people. Generally, there are several sub-departments, including an art director and set designers; the set decoration; the props master; construction headed by the construction coordinator; scenic directed by the key scenic artist and special effects.

• Production Designer– works directly with the director and producer to select the settings and style to tell the story visually. 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 director, and location manager to develop a unified visual appearance to the film.
  The following positions work under the production designer:
• Art Director – directly oversees artists and craftspeople, such as set designers, graphic artists, and illustrators who assist in the development of the production design.
• Set Designer – A Set Designer is a draftsman or architect who realizes the structures or interior spaces called for by the production designer.
• Set Decorator – 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.
• Buyers – work for the set decorator. They are responsible for locating and purchasing or renting the set dressing.
• Set Dresser – apply and remove the “dressing” i.E. Furniture, drapery, carpets, lighting – everything one would find on a particular set.
• Props Master – The Prop Master is in charge of finding and managing all of the props required for the shooting of the film.
• Props Builder – builds the props used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.
• Set Dressers – A Set Dresser is responsible for the placement of all furniture, drapery, carpeting, and all accessories you might find on any particular set. Most of the work of the dressers is accomplished before the crew arrives and after filming. Generally, one or more set dressers remain on the set during filming.
• Art Department Production Assistant
• Construction department
• Construction Coordinator – oversees the construction of all the sets. The coordinator orders materials to schedule the work and supervise the (often sizeable) crew of carpenters, painters, and laborers.
• Head Carpenter – The head carpenter is the foreman of a “gang” of carpenters and laborers.
• Greens – a specialized set dresser is dealing with the artistic arrangement or landscape design of plant material. Sometimes real and sometimes artificial and usually a combination of both. Depending upon the number of greens work in a film, the green man may report to the art director or may report to the production designer.

Camera department

• Director of Photography (D.P) – is the head of all technical departments on a film crew and is responsible for establishing how the script is translated into visual images based on the director’s request.
• Camera Operator (C.O.) – Works closely with the D.P to determine the composition for each shot as instructed by the director. The primary job of the camera operator is to make smooth pan and tilt moves to maintain the form of the subject and also keeps the action within the frame lines.
• First Assistant Cameraman ( 1st A.C.) (Focus Puller) – knows and understands all professional motion picture camera equipment and accessories currently used in the industry. 1st A.C. Reads the script so that he/she is aware of the story and recommends any unique material that maybe needs to carry out specific shots and is responsible for the overall care and maintenance of all camera equipment during production.
• Second Assistant Cameraman ( 2nd A.C.) (Clapper/Loader) – before production, 2nd A.C. Must obtain a supply of empty cans, black bags, camera reports, and cores from the lab or asks the production manager to arrange for these supplies, prepares a list of expendables with the 1st A.C, also preps camera package along with the 1st A.C.
• Loader – The loader loads and unloads all film canisters during filming. The loader also properly labels all loaded film magazines and cans of exposed film and short ends. Also, it prepares film for delivery to the lab; delivers it to the production at the end of each day. The loader also provides all the necessary tools and accessories that are associated with performing the job.

Makeup department

• Make-up Artist – plays a vital role in the overall appearance of the talent. The goal of the make up artist is to make everyone on-screen look as good as possible. He/she works closely with the director and production team to create the look that is required for the various parts of the movie. The make-up artist also uses their skills to minimize the potential adverse effects of the harsh lighting.

Hair department

• Hair Stylist – prepares the performer’s scalp and skin and creates hairstyles that suit production requirements.

Location department

• Location Scout – location scouting is a vital process in the pre-production stage of filmmaking and commercial photography. Location scouts work directly with producers and director have decided what general scenery is required to meet the creative needs of the project outside of the studio space the search for compatible locations begins. Locations are selected both in terms of the “look” they offer. But also the ease of filming in a particular area. Access to a power source, parking, etc. are all important factors the location scout must take into consideration.
• Location Manager – is responsible for making all the practical arrangements necessary for filming on location. Duties include but are not limited to creating and entering into location contract agreements, creating parking plans for working vehicles, identifying and arranging for power and water sources, working with affected residents, property owners, and businesses.

Property department

• Property Master – is responsible for the procurement or production, inventory, care and maintenance of all props associated with productions, ensuring that they are all available on time, and with budgetary requirements. They also ensure that selected accessories suit the film style and overall design and that they reflect the production’s time and culture.

What Everyone Does on a Film Set

For those new to physical production, here is a list of film set departments, with notes on their staff positions, responsibilities, benefits and attractions. (This is a companion piece to “The Seven Arts of Working in Film: A Necessary Guide to On-Set Protocol.)

Production

Personnel includes: Unit Production Manager, Production Coordinator, Production Secretary, Office PA’s, Assistants to Directors & Producers.

Responsibilities: Organization, preparation, wrap, taking care of actors, producers, director, financiers.

Join this department if you like: Working on a movie without being chained to a set, knowing everything that’s going on, solving problems, aka fielding constant complaints.

Favorite game: Choosing a new person to hate every day.

Assistant Director

Personnel includes: 1st AD, 2nd AD, 2nd 2nd AD, Key PA, Set PA’s.

Responsibilities: Breaking down the script into an organized shooting schedule (1st AD), communicating with all departments on a daily basis to keep production moving forward (including creating call sheets), monitoring and facilitating on set safety for all personnel.

Join this department if you like: Collaborating with key creatives to accomplish goals, military-style hierarchy and code language, panicking over a sudden need for umbrellas.

Favorite pastime: Inventing nicknames.

Grip

Personnel includes: Key Grip, Best Boy Grip, Dolly Grip, Rigging Grips.

Responsibilities: Assembling and maintaining support equipment for camera including dollies, dolly track, and jibs; setting stands for lights and placing light shaping elements such as flags.
Join this department if you like: Engineering, puzzles, manual labor.

Know them by: Creatively-tied “signature” bandanas.

Electric

Personnel includes: Gaffer, Best Boy Electric, Electricians, Generator Operator.

Responsibilities: Under instruction of the DP and Gaffer, setting all the lights and running all electrical cable, including “work lights” and equipment power for other departments.

Join this department if you like: The art of lighting, the thrill of being asked every single morning to find power for the coffee maker.

Greatest thrill: The possibility of daily electrocution.

Camera

Personnel includes: Director of Photography, 1st Assistant Camera, 2nd Assistant Camera, DIT/Media Management, Stills Photographer.

Responsibilities: Preparing and operating the camera, setting up the monitors (if there are no VTR / video playback personnel), tracking footage and managing film or digital media.

Join this department if you like: Working with extremely fragile and expensive objects, math.

Favorite accessory: Any custom-designed holder for a generic object (i.e. velcro-attached pen sleeve, walnut-handled tape wheel…)

Props

Personnel includes: Property Master, Assistant Property Master, Prop Assistants (Tangential departments: Food Stylists, Animal Wranglers).

Responsibilities: Everything that actors touch besides costumes, set dressing, and HMU, including food, weapons, cigarettes, fake drugs. Responsible for certain “video village” items including moving directors chairs and, in certain union jurisdictions, heaters and tents.

Join this department if you like: Finding the perfect object for every occasion.

Greatest frustration: Non-actors eating prop food.

Art

Personnel includes: Production Designer, Art Director, Art Dept. Coordinator, Set Decorator, Leadman, Set Dressers, Art PAs.

Responsibilities: Responsible for all the elements of scenery including set decoration (furniture, window treatments, floor coverings etc), scenic work (set painting and aging), and construction (set building). (On larger films, the Construction, Scenic and Set Decoration elements are broken into separate departments, all still working under the overall direction of the Production Designer and Art Director.)

Join this department if you like: Flea markets, moving furniture, moving more furniture.

Constant companion: Bruises.

Costumes & Wardrobe

Personnel includes: Costume Designer, Assistant Costume Designer, Shoppers, Wardrobe Supervisor, Set Costumers, Seamstress.

Responsibilities: Design & procurement of all costumes for principal talent and background including aging, dying, and alterations. Wardrobe Supervisors and Set Costumers are responsible for organizing costumes on set as well as dressing actors and background on the day. (On larger films, Costumes and Wardrobe are broken into two separate departments. The essential division of labor is: costumes creates/procures the clothes, and wardrobe puts them on the actors and maintains continuity.)

Join this department if you like: Clothes, full-length mirrors.

Most surprising fact to new hires: Bags of clothes are extremely heavy.

Continuity

Personnel includes: Script Supervisor.

Responsibilities: Breaking down the script, managing the continuity of blocking, props, makeup and costumes, tracking the progress of the production through the pages of the script.

Join this department if you like: Being a department of one, always being right.

Perk: Gets to sit in a chair all day.

Hair/Makeup

Personnel includes: Hair Department Head, Key Hair Department, Makeup Department Head, Key Makeup Department, Special Effects Makeup.

Responsibilities: H/MU of all on screen talent including simple prosthetics, hair extensions, etc. If necessary, Special Effects Makeup may be its own department.

Join this department if you like: Constant collaboration with actors, access to secrets.

Also known as: “The Glam Squad,” “Vanities.”

Locations

Personnel includes: Location Manager, Location Assistants, Location Scouts, Unit PAs.

Responsibilities: Finds locations, liaises with the outside world, opens and closes sets and holding areas.

Join this department if you like: Maps, interfacing with a wide swath of people including cops, firemen, government officials and curious neighbors.

Most useful tool: Cash, to pay off teenagers with boomboxes or persistent ice cream truck drivers.

Sound

Personnel includes: Sound Mixer, Boom Operator, Sound Utility

Responsibilities: Capturing and organizing the recorded sound of the film including dialogue, background noise, room tone.

Join this department if you like: Finding new and creative places to plant mics on set, listening to actors gripe about the director when they think no one can hear them, retrofitting tackle boxes into cord organizers.

Most sseful tool: Inscrutable poker face.

Catering

Personnel includes: Caterer, Chef, Assistant Chefs.

Responsibilities: Preparing and serving on set meals to cast and crew at pre appointed break times.
Join this department if you like: The joy of making people happy through delicious and comforting food, constantly being asked for esoteric hot sauces.

Most useful tool: Chaffing Dishes.

Craft Services

Personnel includes: Key Craft Service, Craft Service Assistants.

Responsibilities: Providing a buffet style selection of food and beverages on set ranging in size and complexity according to budget level.

Join this department if you like: Creatively cutting fruits and vegetables.

Most useful tool: Toaster Oven.

Special Effects

Personnel includes: Special Effects Coordinator/Supervisor, Special Effects Foreman, SFX Technicians
Responsibilities: Preparing and executing all practical on set effects including atmosphere (smoke, fog), wind effects, snow/rain, and pyrotechnics.

Join this department if you like: Being the coolest person on set.

Most useful tool: Fire extinguisher

Set Medic

Personnel includes: Set Medic.

Responsibilities: Stand by for on set medical needs of cast and crew.

Join this department if you like: Constantly being asked for sunscreen.

Most useful tool: Collapsible set chair.

Visual Effects

Personnel includes: VFX Supervisor.

Responsibilities: Directing and overseeing the creative and technical execution of non practical visual effects elements.

Join this department if you like: Being the person who has the final word in the endless argument about whether or not to use tracking marks.

Most useful tool: Personal monitor all others are jealous of.

Transportation
Personnel includes: Transportation Captain, Transportation Coordinator, Transportation Co-Captain, Drivers, Picture Car Coordinator.

Responsibilities: Providing transportation to set for all film elements including cast, trucks, set dressing etc.

Join this department if you like: Being at set both before and after everybody else.

Most useful tool: Coffee

(Not included on this list are the largely off-set departments of accounting, casting, post-production and publicity.)