Film and TV Productions
Table of Contents
- Production Department
- Production Staff
- Directors Department
- Camera Department
- Art Department
- Property Department
- Visual Effects Department
- Grip Department
- Lighting Department
- Sound Department
- Editing Department
- Stunts
- Script Department
PRODUCTION DEPARTMENT
Producer
On most productions the Producer is the Big Cheese, period. The Producer is often the one financing the film or representing the studio financing the film. Among other key personnel the Producer selects the Director as head of the creative process.
Executive Producer
This title has many meanings for many different productions. For some it refers to a Producer who is not involved in the actual making of the production save for business tasks. For others it refers to one who has control over every aspect of the production. And yet on other productions it’s a title given to those who have provided funds or creative input.
Associate Producer
The Associate Producer is hired directly by the Producer and is responsible for all administrative tasks from pre-production to post-production.
Co-Producer
The Co-Producer is responsible for management on-set but is usually freed from budgetary responsibilities.
Line Producer
The Line Producer is responsible for ascertaining the potential production costs per day by determining approximately how many shoots, duration of shoots, location costs, labour costs, etc. During production the Line Producer is responsible for ensuring that the projected costs are not overly exceeded and the project is completed on time.
PRODUCTION STAFF
Production Manager
Reporting to the Producer, the Production Manager is responsible for drafting and maintaining the production budget. This may include hiring of the crew, negotiating supplier contracts, communication with casting agents and liaising with city officials regarding permits.
Production Coordinator
Responsible to the Line Producer and Production Manager, the Production Coordinator oversees ordering of the equipment, securing accommodations for cast & crew, coordinating social events and ensuring all paperwork is tickety boo.
Technical Advisor
The Technical Advisor, often an expert in a particular field, is brought on board with the Production team to work with the Director in ensuring accuracy in both the Actors performances and in the ‘facts’ presented.
Location Manager
The Location Manager is responsible for researching and securing locations, coordinating vehicle parking, permits and noise reduction. Once the location is secure they are responsible for preserving the location’s condition to ensure its return to the owners in acceptable condition.
Assistant Location Manager
Working under the direction of the Location Manager, the Assistant Location Manager is responsible for drawing up directional maps to and from the location, placing road signs, signing crew park areas and posting notifications signs within the immediate community.
Unit Manager
Supporting the Location Manager and the Assistant Location Manager, the Unit Manager’s responsibilities include keeping the peace with residents and the general public near the filming location, cleaning up garbage and directing production vehicles to their parking locations.
Production Assistants
Production Assistants or PA’s are considered the most entry of entry level positions in the Film, Television and Theatre industry. Just as with the Assistant Director position, the PA’s responsibility load depends on both the size of the production and their respective department.
- The Set PA performs tasks as requested by the AD’s including escorting cast to & from set, providing water to cast when requested, pretty much the running of general errands.
- Office PA’s work in the production office on set and on location. They manage the basic reception & administration required during shooting.
- Transportation PA’s drive cast, crew & equipment to and from the shooting locations.
- The Art Department PA manages the basic office errands including helping dress the set.
- The Wardrobe PA assists in maintaining costumes including minor tailoring, labeling and returns.
- Location PA’s are responsible for ensuring cast & crew know where to go, how to get there and what ‘house rules’ are to be respected on location. This includes making maps, posting signs en route, on location and ensuring a thorough cleanup of the site.
DIRECTOR’S DEPARTMENT
Director
The Director is ultimately responsible for all creative aspects of a production. Working with or sometimes as the DOP & Production Manager, the Director works with all cast & crew, most of which were hired by the Director to achieve a shared vision. To do this the Director assesses the script for the overall message and tone, reviews potential locations for each scene, approves set design, costumes, make-up, blocking, lighting, framing, sound effects, musical scores, soundtracks and sometimes the final edit.
First Assistant Director (1st AD)
The First Assistant Director (AD) is the ‘right arm man’ (read: person) to the Director and manages the ‘business’ tasks so that the Director can focus primarily on the ‘big picture’. Most often the AD will set & ensure timely execution of the shooting schedule, prepare crew call sheets & script breakdowns, facilitate and organize the flow of production activity including communicating with the cast and crew to ensure the Director’s requests are executed efficiently.
Second Assistant Director (2nd AD)
Depending on the size of the production, an additional assistant Director may be required to share the responsibilities of the 1st AD. These tasks will vary by production and may include preparing the call sheets, contacting cast & crew with call times, scouting & securing locations, scheduling food and anything that normally falls under the responsibility of the 1st AD. The 2nd AD is also often the liaison between the Production Manager & the 1st AD.
Third Assistant Director
Larger productions may require a Third Assistant Director or (3rd AD). And as you’ve probably already guessed, they’re responsibility is to assist the 1st & 2nd AD in their responsibilities. Often these tasks include managing the activities of Background Artists (extras), moving them from base camp to set and communicating with the 1st & 2nd AD’s as needed.
Choreographer
Dance or Movement Choreographers work with the Director to coordinate dance routines, consult Actors on period-specific physical behavior or safely coordinator fight sequences like in our favourite Kung Fu flicks.
Dialogue Coach
A Dialogue Coach helps Actors retrain their speech patterns to achieve dialects or accents required for their character.
CAMERA DEPARTMENT
Director of Photography (DOP)
As head of the Camera Department the Director of Photography is often selected by the director to direct the lighting and camera crews. The DOP is responsible for creating images that are flawless in their production value and in keeping with the story. In doing so, the DOP may at times jump behind the camera for select scenes, or quite possibly for the entire production.
Camera Operator
The Camera Operator is responsible for the operation of the camera which includes working with the 1st Assistant Camera to ensure the camera is in focus, working with the 2nd Assistant Camera to ensure film is loaded when needed and communicating with the Director when film or memory is running low. In addition to this, the Camera Operator’s main concern is framing each shot to the likes of the DOP’s and Director’s vision.
Steadicam Operator
The Steadicam Operator is in essence a very mobile Camera Operator. The Steadicam is attached to the Operator by a mechanical chest & waist harness designed to ‘smooth out’ the Operator’s motion. This job can be particularly taxing as the Operator carries the camera’s 40lb weight for various lengths of time in various positions.
First Assistant Camera (1st AC)
Working under the direction of the Camera Operator, the First Assistant Camera has the task of keeping the camera in focus during shooting without having the benefit of seeing through the camera’s lens. This demands less a keen eye than serious technical savvy. In addition the First Assistant Camera may also be responsible for maintenance of the camera, changing lenses, film or memory cards.
Second Assistant Camera (2nd AC)
The Second Assistant Camera is the one production crew position that actually gets time in front of the camera. Responsible for slating each scene which includes marking start times & take counts, the Second Assistant Camera is also loads film into the camera mags, marks the Actors placements and maintains log sheets.
Still Photographer
The Still Photographer is responsible for photographing the production during filming for both documentation and publicity purposes.
Video Assist Operator
The Video Assist Operator is responsible for the set up and continued operation of the Video Assist equipment during production.
ART DEPARTMENT
Production Designer /Art Director
The title Art Director and Production Designer are most often one in the same position as head of the Art Department. Working with the Director’s vision, the Production Designer is ultimately responsible for creating the overall look of each scene. The realization of this vision is achieved through the combined efforts of the Art Department.
Production Illustrator
Working with the Production Designer, the Production Illustrator creates storyboards that outline the scene’s action sequences with illustrated pictures. This sometimes includes the creation of conceptual items such as futuristic cities, cars, flying objects or new species of life.
Costume Designer
The Costume Designer is responsible for selecting or designing the character’s wardrobe. This entails anything from purchasing clothing, designing clothing from scratch or designing costumes created by the Production Illustrator or other artist such as H.R. Giger’s alien.
Wardrobe Assistant
Working under the direction of Costume Designer, the Wardrobe Supervisor coordinates which costumes are required & prepped for each scene, quantity of back-up costumes required, facilitating wardrobe fittings, transport of wardrobe to set and maintenance of machines.
Make-Up Artist
The Make-Up Artist is responsible for applying make-up and touch-ups throughout shooting for all cast members. It is one of the few positions in which it is expected that the artist provide their own materials.
Hair Stylist
The Hair Stylist works with the Actor within the Director’s vision to create a hair style that is consistent with the story and that will stay put through the various shots of the scene. This includes haircuts, extensions, faux dyes and wigs.
Prosthetics Specialist
The Prosthetics Specialist is responsible for creating specialized pieces to be affixed to the Actor’s person to change their physical appearance or aid in a visual effect.
PROPERTY DEPARTMENT
Set Decorator
The Set Decorator works under the guidance of the Production Designer to completely furnish each set floor to ceiling. This includes everything from basic interior design elements to family pictures, dirty plates and toothbrushes. Pretty much absolutely everything.
Prop Master
The Prop Master provides and positions all items used in the scene by the Actors such as food, drinks, towels, etc.
Prop Maker
Working under the direction of the Prop Master, the Prop Maker designs and creates props for the scene. This includes stunt, period piece and specially altered props. The Prop Maker is also responsible for creating back-up props in the event originals are damaged.
Firearms Person
The Firearms Person is responsible for the selection, transportation, security and ensuring safe use of the firearms by the cast & crew.
Model Maker
Under the direction of the Production Designer and sometimes the Production Illustrator, the Model Maker’s task is to take the creative vision to the next level, 3D. This includes models expected to have a range of motion like our good friend Godzilla and scale models designed to depict vehicles, aircraft and Death Stars.
VISUAL EFFECTS DEPARTMENT
Classical Animator
A Classical Animator is an artist responsible for creating the story in illustrated form. This is a tedious task as it takes several cells of near identical images with only slight variations to each cell to create the illusion of movement. These people have patience. Lots of it.
3D Animator
The 3D Animator creates anything life forms to cartoon characters and set decoration using computer graphic software. A crucial aspect of this position is creating images that are believable to an audience that is becoming increasingly critical.
Visual Effects Artist
The Visual Effects Artist is responsible for researching, conceptualizing and creating scale or animated natural effects such as fire, explosions, waterfalls etc.
GRIP DEPARTMENT
While the grips make up their own department led by the key grip, their main responsibility is to facilitate the needs of both the camera and lighting departments.
As head of the department the Key Grip manages the crew, equipment required, set safety and most often acts as a problem solver with the lighting & camera crews.
The Best Boy Grip or the more female friendly title, 2nd Company Grip assists the Key Grip by coordinating communication with the crew regarding equipment rentals, maintenance, set-up and set safety.
The Dolly Grip operates the movement of the camera dollies which is more challenging than it may seem. The Dolly Grip must coordinate their movements with the camera crew as they move through the shot with a perfectly smooth & silent stealth.
The Crane Operator operates the camera cranes as per the Director’s vision. Depending on the size and reach of the crane used, the Crane Operator may also be required to operate the boom affixed to the crane.
LIGHTING DEPARTMENT
Gaffer
The Gaffer is the head of the electrical department responsible for the design and execution of the lighting plan. Gaffers are responsible for creating the desired lighting effect for each scene. This includes selecting, positioning, and choosing the lights and light filters required to create the desired effect.
Lighting Technician
The Lighting Technician is responsible for the placement and moving of lighting equipment for use both on and off set. On set the Lighting Tech sets up each scene’s lighting needs as designed by the Gaffer. Off set, the Lighting Tech is responsible to ensure lighting and electrical resources are operating for support services and on-site trailers. This will often include management of electrical generators.
SOUND DEPARTMENT
Sound Designer
Head of the Sound Department, the Sound Designer is responsible for all sound included in the final soundtrack ensuring that the dialogue, natural, special and musical sound effects are harmonious to the project’s overall feel.
Production Sound Mixer
The Production Sound Mixer manages the sound crew on set and is responsible for all sound recorded during shooting. The Production Sound Mixer chooses the recording equipment best suited to capture dialogue and wild sound later used by the post production sound crew for inclusion into the final cut.
Boom Operator
Working under the direction of the Production Sound Mixer, the Boom Operator is responsible for placement of recording hardware. This includes handling the boom, fixing microphones to cranes and placing mics on the talent.
Utility Sound Technician
Assisting the Production Sound Mixer and the Boom Operator, the Utility Sound Technician is responsible for setting up the electrical cables, monitoring battery and microphone stocks.
Sound Editor
The Sound Editor selects, assembles, cuts and pastes all sound recorded on set and from the Foley Artist to prepare them for installation into the finished product.
Dialog Editor
The Dialog Editor is responsible for the enhancing and editing all dialogue. This includes requesting specific dialogue is re-recorded using automated dialogue replacement (ADR) in which the Actors required to read their dialogue in sync with their performance.
Foley Artist
Working most often with faint but existing sounds from the dialogue track, the Foley Artist enhances footsteps, creaking floors, doors opening, vehicles starting up, etc. These enhanced sounds are recorded onto the Foley track, hence the job title.
Music Editor
The Music Editor is responsible for all music featured both on the film and within the CD soundtrack. This includes commercially released music or pieces created specifically for the film. The Music Editor works closely with the post production crew to best match the music to the scene.
EDITING DEPARTMENT
Post-Production Supervisor
Working with the Director, Producer and Editor, the Post-Production Supervisor ensures that all post-production tasks are completed on time and within budget. The Post-Production Supervisor is responsible for every aspect of post-production including securing optical and sound studios, coordinating deliveries of the film to distributors and scheduling preview screenings.
Post-Production Co-ordinator
Working under the Post-Production Supervisor, the Post-Production Coordinator carries out administrative tasks such as shipping & logistics, scheduling ADR sessions, accounting and project completion paperwork.
Title Designer (TD)
The Title Designer is responsible for creating the opening credits of a film or TV production. They do this with consideration to font, font size, colour and effects to build excitement and set the tone for the story to follow.
Editor
Working closely with the Director, the Editor is responsible for selecting the best possible sequence of shots to tell the story of the scene. Scenes are not only shot out of sequence on a Film or TV production, but the content within a single shot can often be edited into a different sequence that drives the story home with more intensity while maintaining continuity.
Assistant Editor
Working under the direction of the Editor, the Assistant Editor manages daily operations including coordinating with the other departments, receiving, notating and syncing up the dailies for the Editor to work with.
STUNTS
Stunt Trainer
Stunt Trainers and Stunt Choreographers are often the same person when hired to train a specific group of Actors or Stunt Performers for a particular scene or set of scenes.
Stunt Coordinator
The Stunt Coordinator researches the actions required by the script and is responsible for the hiring of Stunt Performers and Stunt Doubles.
Stunt Performer
Stunt Performers are Actors that have undergone intensive training to perform specific stunts.
Stunt Double
Stunt Doubles are highly trained individuals who take the place of Actors in scenes that require rigorous physical activity or personal risk.
Stunt Choreographer
The Stunt Choreographer is responsible for safely choreographing the movement of Stunt Performers, Stunt Doubles and/or Actors in the safest and most entertaining way possible.
SCRIPT DEPARTMENT
Development Executive
Screenwriters seek to be discovered by Development Executives and Development Executives are looking to discover screenplays with a high market appeal. The Development Executive may also request a specific Script Editor and Director whose talents would complement the project.
Screenwriter
Screenwriters are almost always freelance writers who create a screenplay with the hopes a Development Executive will be interested in producing it. Screenwriters may also be hired to create a specific screenplay based off a true story or unrealized concept. If their screenplay heads into production the Screenwriter is often employed from pre-production until completion of filming as script adjustments are often required.
Script Editor
Once the screenplay is slated for production the Script Editor works with Screenwriter and analyses the script for any potential challenges with dialogue, hidden meaning or incomplete story lines.
Script Reader
The Script Reader’s role is to read script upon script submitted to production companies or government organizations such as the National Film Board of Canada. For each script read the Script Reader creates a small synopsis for review by the Development Executive.
