Film Todo PDF

DEPARTMENTS ROLES AND RESPONSIBILITIES
This article provides an overview of the roles and departments you would expect to find on a film
production.
• Key Roles
• Production Department
• Accounts
• Assistant Directors
• Camera/DIT/Video
• Locations Department
• Sound Department
• Grip Department
• Electrical Department
• Art Department/Set Dec Props/Construction
• Hair & Make-Up
• Costume
• Post-Production
• Post-Production Sound/Music
• Visual Effects (VFX)
• Other Crew
KEY ROLES
Producer
The Producer supervises raising finance, hiring key Heads of Departments and finding and
contracting distributors. The Producer is involved from the very beginning of film through to delivery
of the production. They oversee all areas of production, both creative and financial.
Director
The Director oversees all creative elements of the film. They visualise the story by directing
performances and managing the technical aspects of the film e.g. which shots and angles best tell
the story in a given scene. The Director usually, but not always, will have a little input in the script
and are responsible for building the film in the edit, with the Editor, in the way they best thinks tells
the story.
Screenwriter
The Screenwriter is responsible for developing and researching the story, the characters and the
plot. They will write the screenplay and deliver it, make required redrafts before filming and, if
required, make revisions during the shoot.
PRODUCTION DEPARTMENT
Executive Producer
The term Executive Producer (EP) can be used in two ways. In smaller productions, the EP may be an
investor in the film and thus be given an EP credit. However, on large Studio Pictures the EP credit is
Downloaded from FutureLearn Course: Film Production: Behind the Scenes of Feature Filmmaking 1
© Production Guild of Great Britain (February 2016)
often given to the role covered by a Line Producer, managing the budget and overall day-to-day
shooting.
Line Producer
The Line Producer creates and manages the budget, acting as the primary person responsible for
production. They oversee the day-to-day shooting, signing contracts for cast, crew and locations.
Production Manager
The Production Manager (PM) oversees the budget in a more detailed manner than the Line
Producer, making deals with the crew and Heads of Department. They ensure the project stays on
budget, regularly checking the different department budgets, seeing where cuts may be necessary
to keep on budget.
Production Co-ordinator
The Production Co-ordinator is responsible for the logistics of running the film shoot. They distribute
all the major paperwork including Call Sheets and schedules. They oversee the Production team,
who are the central information hub of the production, handling all contracts for cast and crew,
travel, renting equipment, visas, clearances etc.
Assistant Co-ordinator
The Assistant Co-ordinator, or APOC, assists in managing the day-to-day organisation of the film
shoot. They may have specific responsibility for elements such as travel and accommodation (finding
short term lets for artists), crew contracts or set clearances.
Production Secretary
The Production Secretary is normally responsible for creating key lists for the Production e.g. Cast,
Crew and Suppliers lists. Depending on what is required, they will also assist the Production Office in
all manner of tasks to help successfully manage the film.
Production Assistant
The Production Assistant is the hands-on help in the Production Office, potentially doing Runner
activities as required. They will help run the office, ordering stationery, photocopying and
distributing paperwork.
Production Runner
The Production Runner will usually be responsible for purchasing/collecting various items for the
production including shopping for breakfast and break items, collecting materials and delivering
packages - using their own car, a rental or a Production owned vehicle. The Production Runner will
also work within the Production Office, performing administration duties and managing their floats.
Travel, Shipping and other Departmental Co-ordinators

A standard production would, typically, have Departmental Co-ordinators for art, construction and
special effects and, larger studio pictures may also have co-ordinators for costume, make-up, action
vehicles etc. Bigger budget films, with overseas locations, will usually have Travel Co-ordinators and
Shipping Co-ordinators.
ACCOUNTS
Financial Controller
The Financial Controller works closely with the Line Producer and Production Manager to oversee
the finances of the production. They will forecast costs for the budget, oversee the Accounts
Department, ensure financial records are maintained and people/companies are paid in a timely
manner.
1st Assistant Accountant

The 1st Assistant Accountant supports the Financial Controller in running the Accounts Department.
They assist in creating the Cost Report, showing actual costs of items and forecasted spends.
Accounts Payable
Accounts Payable pay all invoices from companies, paying for hired or purchased items.
Payroll Accountant
In film production crew are paid WEEKLY not monthly and the Payroll Accountant overseas paying
the crew and cast. They collate Start Form for staff, including a copy of their Passport, P45, P60 or
Certificate of Incorporation - used to calculate tax.
ASSISTANT DIRECTORS
1st Assistant Director
The 1st Assistant Director (1st AD) runs the set – it is in fact them that shouts ‘action’ – not the
Director. The 1st AD schedules the movie, taking into account script requirements, the locations and
the cast availability, crafting a working schedule and ensuring the daily tasks are completed on time.
2nd Assistant Director

The 2nd Assistant Director (2nd AD) co-ordinates the cast, informing them of their schedule and call
times, liaising with transport for pick-up times. The 2nd AD liaises with all departments to write the
daily Call Sheet, which is then signed off by the 1st AD, the Line Producer and PM.
3rd Assistant Director

The 3rd Assistant Director (3rd AD) directs the background on a shoot. They give the background
extras directions and ensure appropriate payment for their work. The 3rd AD works closely with the
1st and 2nd AD, ensuring general cast logistics including distribution and return of radios on-set.
Floor Runner
The Floor Runner is based on-set and is responsible for ensuring the smooth running of the set. The
Floor Runner collects cast from their dressing rooms, provides their lunch and generally looks after
them. They also look after the crew, providing refreshments, lunch and snacks as required.
Base Runner
The Base Runner is located at the Unit Base with the 2nd AD. They are responsible for the cast whilst
they are arriving and getting ready for set - supporting them through costume and make-up,
checking that they have all they need.
CAMERA/DIT/VIDEO
Director of Photography/Cinematographer
The Director of Photography (DOP) is responsible for the cinematic look of the film. They decide
what lighting, filters, lenses, filming speed, crane shots, framing and medium (digital or film) are
required, to best tell the story the way the Director wants it to be told.
Camera Operator
The Camera Operator operates the camera under the guidance and direction of the DOP. They may
also be trained as a Steadicam Operator.
1st Assistant Camera/Focus Puller
The 1st Assistant Camera (1st AC) is responsible for ensuring that a shot is in focus, using their
technical skills to ‘pull focus’.
2nd Assistant Camera/Clapper Loader

If a shoot is using film, the 2nd Assistant Camera (2nd AC) would be responsible for loading the film
into the camera, dark room and/or sealed bag and keeping the camera clean of any dirt and grime.
The Loader has significant responsibility as incorrectly loading could make the shots unusable, but
you wouldn’t know until the negative is developed. Camera loading is happening less and less, as
camera cards and digital cameras take precedence.
Script Supervisor
The Script or Continuity Supervisor has several responsibilities, timing the script (enabling the
Producer to make cuts if it is overlong), tracking scenes (marking-up the script for the Editors with
the Directors preferred shots) and ensuring set continuity (e.g. ensuring the same hand picks up a
coffee cup, or that the injury always remains on the same side of their face).
Camera Trainee
The Camera Trainee (previously Camera Assistant) helps carry equipment, prepare the camera for
shoot and check levels of camera consumables e.g. tape and batteries. They will also be responsible
for ensuring refreshments and lunch is provided for the rest of the Camera Department.
Digital Imaging Technician

The Digital Imaging Technician (DIT) is only used on digital productions. Under the instruction of the
DOP they will make technical adjustments to the digital camera, manipulate the image, detect faults
and monitor the working of the camera.
Data Wrangler
A Data Wrangler is responsible for the download and back-up of the digital material from the raw
cards used in the cameras. They provide copies for the edit, verify the copy of the data and ensure
there is a back-up before the raw camera cards are wiped.
Video Assist or Video Playback Operator

The Video Assist will create the ‘video village’, providing a plethora of monitors around the set,
giving the exact on-set image to a variety of departments including, most importantly, the Director,
Producers, DOP, Costume and Make-up.
LOCATIONS DEPARTMENT
Location Manager
The Location Manager is the Head of Department for Locations and they are ultimately responsible
for all the locations of a film production. They oversee the initial research and scout locations,
ensure availability, manage logistics and monitor cost and restrictions, confirming viability of the
location for the Director.
Assistant Location Manager

There will likely be several Assistant Location Managers on a job, supporting the Location Manager.
Their responsibilities include: finding Unit Bases, working out the logistics for the location, making
licence applications to the authorities and negotiating appropriate parking. They will liaise with the
facilities and transport departments, oversee location prep and create movement orders.
Unit Manager
The Unit Manager is responsible for the Unit Base, when out on location. They will most likely ‘see
the Unit in’, when it moves location for the next day of shoot. They plan the best formation for all
the trailers, ensuring they fit in the Unit Base and oversee its general running.
Location Assistant
The Location Assistant may help the Assistant Location Manager and Unit Manager with some of the
above. They may be in charge of the rubbish at a location, help assemble the ‘video village’ or
maintain the dry area for hair and make-up.
Location Marshall
Location Marshalls are generally stationed at a point or ‘lock off’ to give entry information to the
crew or public. They may wear a high-visibility jacket and direct cars for parking when the Unit
arrives in the morning.
Security
The Locations Department will work out how much security is needed for a particular location in
advance. An exterior company will usually be employed to prevent public access and ensure
valuables items to do not get lost/stolen.
SOUND DEPARTMENT
Production Sound Mixer/Sound Recordist
The Production Sound Mixer is Head of Department for Sound and is responsible for all on-set
sound. They are responsible for choosing the recording equipment and mixing audio signals.
Boom Operator
The Boom Operator is responsible for placing the boom near the artist (but out of shot!), ensuring
the best sound is recorded.
Cable Guy
The Cable Guy or Sound Maintenance Engineer attend to the cast, placing the radio mics if they’re
being used - radio mics are used in wide shots or where a boom would be too intrusive to the frame.
The Cable Guy will also operate a second boom, if required.
GRIP DEPARTMENT
Key Grip
The Key Grip is head of the Grip Department and works closely with DOP to help achieve the
required shots. Moving shots are achieved via a Dolly (a camera rig on a track) and the Grips moves
the Dolly at the required speed. Grips will also oversee the use of camera cranes, action vehicles
rigging and tracking, jib arms, rickshaws etc.
Crane Grip
A Crane Grip is hired specifically to assemble and help operator a camera crane.
Dolly Grip
A Dolly Grip is used to assemble the Dolly and push and pull the camera rig on the track.
Head Technicians
Head Technicians specifically control the ‘head’ on a crane or rig, so that it can rotate and move to
certain angles smoothly, 20-50ft in the air.
ELECTRICAL DEPARTMENT
Gaffer
The Gaffer is in charge of the Electrical Department. They work closely with the DOP to get the exact
lighting required for the shot whether on a lighting rig in a studio, in a location or on an exterior
night shoot.
Rigging Gaffer
The Rigging Gaffer is in charge of the lights on location, working to the Gaffers requirements. The
Rigging Gaffer may also work in advance to set up difficult and complex rigs in studios and on
location.
Best Boy
The Best Boy is the chief assistant to the Gaffer on-set, ordering the kit and consumables, and
ensuring all the work the Gaffer requires is undertaken.
Electricians
The Electricians (or Sparks) set up the lighting required for a shoot. They load and offload the
equipment, test it, change the bulbs and ensure cable power to the Unit.
Gennie Operator
The Gennie Operator maintains the Generator, used to powers the lights/Unit for the set. They
maintains the smooth running of the generator, adding diesel and driving it from location to
location.
ART DEPARTMENT/SET DEC PROPS/CONSTRUCTION

Production Designer
The Production Designer is in charge of the Art Department and is responsible for the overall look of
the physical film, in terms of the set, locations, props and dressings.
Art Director
The Art Director oversees the Art Department in a ‘nuts and bolts’ way. They likely budget the
department, hire the crew and oversee any on-set builds.
Standby Art Director

Based on-set, the Standby Art Director will oversee the general look of the set, as per the Designers
requirements. They will also ensure continuity of props on-set.
Draughtsperson
The Draughtsperson will schematically draw the builds and sets required, providing detailed and
precise measurements, enabling the construction team to create the set directly from their plans.
Graphic Designer
The Graphic Designer designs all of the mocked-up art on-set. They work closely with the Clearances
person to create fake banners, branding, posters, shop signs, name tags etc.
Scenic Painters
The Scenic Painters paint the backdrop that wraps around the stage, ensuring it look as lifelike and
as realistic as the location itself.
Set Decorator
The Set Decorator is in charge of the physical dressing and props on-set. They work closely with the
Designer and Prop Buyer to identify the style of each set and the items that best portray the
characters.
Buyer
The Buyer will work closely with the Designer and the Set Decorator to purchase/rent items which
will be used to dress the set.
Petty Cash Buyer

The Petty Cash Buyer usually buys the ‘smalls’- small items required on-set and purchased with cash
from shops or second hand stores.
Props Master
The Props Master is head of the Props Department, overseeing the management of all props. They
work closely with the Buyer and Petty Cash Buyer, ensuring they have the right props, for the right
scene, on the right day.
Storeman
The Storeman will work within the Props store to carefully organise the many props used on a film,
ensuring everything is available for a particular days filming. They will help load the required items
for transport to set.
Standby Props
Based on-set, Standby Props oversee the use of the props during the filming of a scene, making sure
there are repeats if they are needed. They will also help the Standby Art Director to place items on-
set as required.
Greens Team
The Greens Team will usually be a separate company hired by the Props department to place the
‘greens’ required on a set. They may add a variety of plants/trees to the exterior of a house to make
it look real, create a fantasy waterfall or rock pool with wonderful colourful flowers.
Armoury
If required, the Armoury will be employed by the Props Department to safely provide firearms or
swords/daggers to a production. If shots are to be fired/heard, they will consult with Health and
Safety and sometimes the local Police Department.
Action Vehicles
Booked by the Art Department they provide any vehicle requirements for the set. They may provide
period cars or stunt cars and are responsible for checking the running of the car.
Construction
The Construction Manager will lead the Construction Team, building anything required for the film.
These could be massive builds (e.g. on the 007 Stage at Pinewood Studios or recreating a Roman
battle scene in the woods). The Construction Manager will oversee a team of welders, plasterers,
painters and builders to create amazing sets – only for them to be generally ripped out and binned
once the shoot has finished!
HAIR & MAKE-UP

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

Hair & Make-up Artists are responsible for looking after a range of artists on-set, either key cast
members, day players or background cast. If there are special effects make-up or prosthetics used,
these will usually be applied by a specialised prosthetics make-up artist.
COSTUME
Costume Designer
The Costume Designer is responsible for all the clothing and costumes worn by the cast. They design
and plan construction of the garments down to the fabrics, colours and sizes required.
Costume Supervisor
The Costume Supervisor works closely with the Designer to supervise the creation or sourcing of
garments, hiring of support staff, budget, paperwork, and department logistics.
Costume Standby
The Costume Standby is present on-set at all times to monitor the quality and continuity of the casts
costumes before and during takes. They will also assist the cast with dressing.
Buyer
On large productions a Buyer may be employed to source and purchase fabrics and garments.
Cutter/Fitter/Costume Technician
The Costume Technician (also called Seamstresses or Tailors) fits or tailors costumes on-set.
POST PRODUCTION
Film Editor
The Film Editor creates the story by assembly the shots given. They work closely with the Director,
arranging shots in the final film.
Assistant Editor
The Assistant Editor supports the Editors by collecting and organising all the elements needed for
the edit.
Post-Production Supervisor
The Post-Production Supervisor overseas and co-ordinates Post-Production. They hire key staff, book
edit suites and equipment, help schedule the Post-Production period, and assist with any additional
photography required on the movie.
Colourist
The Colourist adjusts the colour of the film to ensure greater consistency throughout the final film.
POST PRODUCTION SOUND/MUSIC

Sound Designer
The Sound Designer is in overall charge of the Post-Production sound of a movie.
Dialogue Editor
The Dialogue Editor is responsible for assembling and editing all dialogue in the soundtrack.
Sound Editor
The Sound Editor is responsible for assembling and editing all sound effects in the soundtrack.
Re-recording Mixer
The Re-recording Mixer balances the sounds and levels prepared by the dialogue, music and effects
editors.
Music Supervisor
The Music Supervisor works with the composer, mixers and editors to create and integrate the film's
music. They negotiate licensing of the necessary rights for all source music used in a film.
VISUAL EFFECTS (VFX)

Visual Effects Supervisor
The Visual Effects Supervisor is in charge of the Visual Effects Department.
Compositor
A Compositor is responsible for compositing images from different sources such as video, film,
computer generated 3-D imagery, 2-D animations, matte paintings and text.
Roto/Paint Artist
A Roto/Paint Artist manually creates mattes for use in compositing, they may also ‘paint’ visual
information out of a scene, such removing wires and rigs, logos and scratches.
Matte Painter
Matte Painters draw/paint entire sets or extend portions of an existing set.
OTHER CREW
Casting Director
The Casting Director works closely with the Director and Producer to understand requirements. They
suggest artists for each role and conducting interviews and auditions.
Storyboard Artist
The Storyboard Artist visualises stories using sketches. Quick pencil drawings and marker renderings
are two of the most common traditional techniques, although nowadays Flash, Photoshop and
specialist storyboard software applications are being used more often.
Unit Nurse
The Unit Nurse provides first aid cover and primary healthcare to the cast and crew on a film
production. They will deal with any illness or accidents on-set. A production may additionally hire
paramedics or ambulances or even air ambulances if the risk of stunt or shot is deemed significant
enough.
Caterers
Catering is provided by specialist companies, who drive catering trucks packed with food and
equipment to each Unit Base for filming. They may also provide ‘Craft Catering’ which is basically a
snack haven for the crew offering coffee’s, smoothies, chocolate and light snacks!
Unit Publicist
The Unit Publicist is responsible for Unit press and the publicity budget set by Producers. They
usually work on a freelance basis, and are hired only for the duration of each shoot. They will
manage any journalists who come to interview the cast and oversee the Electronic Press Kit (EPK)
team - who do the B-roll shots, shooting the crew and cast interviews for DVD extra’s etc.
Stills Photographer
A Stills Photographers usually work on-set and will take stills for the Publicity department,
promotional purposes and film posters.
Clearances
A clearance expert is hired to work solely on the copyright clearance and checking of the script, the
movie, the visual content and other brands. Depending on the individual policy on clearances, any
brand featured should have a release form giving permission for the brand to be used. Clearances
may also deal with product placement.
Health & Safety

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

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DEPARTMENTS ROLES AND RESPONSIBILITIES

Travel, Shipping and other Departmental Co-ordinators

1st Assistant Accountant

2nd Assistant Director

3rd Assistant Director

2nd Assistant Camera/Clapper Loader

Digital Imaging Technician

Video Assist or Video Playback Operator

Assistant Location Manager

ART DEPARTMENT/SET DEC PROPS/CONSTRUCTION

Standby Art Director

Petty Cash Buyer

HAIR & MAKE-UP

Hair & Make-up Artist

POST PRODUCTION SOUND/MUSIC

VISUAL EFFECTS (VFX)

Health & Safety

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