Table of Contents <\/h2>\n<\/div><\/div>\n\n\n\n- Production<\/a><\/li>
- Creative<\/a><\/li>
- Art Roles<\/a><\/li>
- Camera<\/a><\/li>
- Food<\/a><\/li>
- Sound<\/a><\/li>
- Location<\/a><\/li>
- Costume<\/a> <\/li>
- Hair\/Makeup<\/a><\/li>
- Script<\/a><\/li>
- FX\/Stunts<\/a><\/li><\/ul>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n
![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/gordon-cowie-Qd-1uh1S5Og-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nProduction<\/strong><\/h2>\n\n\n\nExecutive Producer<\/strong><\/h3>\n\n\n\nExecutive Producers<\/strong> are the big dog of the production hierarchy and control the funding. They are sometimes people who have invested their own money into the film. Executive Producers are the people who deal with the film\u2019s financiers. They make sure that they keep them apprised of how the film is going. You often see big recognizable names in the credits as Executive Producers. This shows that these people are capable of not only acting or directing in big budget movies, but also of finding the way to get the money to make movies happen.<\/p>\n\n\n\nLine Producer<\/strong><\/h3>\n\n\n\nThe Line Producer<\/strong> is in charge of the purse strings and handles requests for more money. They are most active in preproduction, breaking down the script to assess how much everything will cost and come up with a budget. With this preliminary budget, they know about how much funding they need to make the movie happen.<\/p>\n\n\n\nProduction Designer<\/strong><\/h3>\n\n\n\nProduction Designers<\/strong> are the head of the Art Department and make up the visual look of the film in coordination with the Director and Producer. They work on the colors, visual style, and themes of the project. During the shooting, they make sure the set is perfect and that all elements of the scene are cohesive and to the highest standard.<\/p>\n\n\n\nProduction Coordinator<\/strong><\/h3>\n\n\n\nProduction Coordinators<\/strong> run the office that makes all the decisions that help keep a production running. They take care of travel arrangements, are aware of and secure all the different permits needed for the shoot, and hand out the latest versions of scripts and revisions, crew and cast list, and call sheets. Call sheets are the instructions that tell everyone when and where they need to be, what is being worked on that day, and other very useful information.<\/p>\n\n\n\nProduction Assistant<\/strong><\/h3>\n\n\n\nThis is the way many people get into the film industry. It is the entry-level position that lets you see the big show \u2014 hopefully get paid \u2014 and see what direction you might want to take for a career. The responsibilities of Production Assistant<\/strong> are to basically take marching orders from those above them. This can include answering phones and getting what is urgently needed on set. <\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/avel-chuklanov-Hn3S90f6aak-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nCreative<\/strong><\/h2>\n\n\n\nDirector<\/strong><\/strong><\/h3>\n\n\n\nEveryone knows the Director<\/strong> of the movie. What they don\u2019t know is the sheer amount of work and the millions of decisions \u2014 both large and small \u2014 that can only be answered by the Director. The best directors should be efficient and quick communicators, and they also always have the bigger picture in their mind. However, to me, the biggest responsibility of Director is to coax the best performance out of your actor. <\/p>\n\n\n\nAssistant Director<\/strong><\/h3>\n\n\n\nThe Assistant Director<\/strong> manages time. They do their absolute best to keep the production on time. Together, with the Director and the Director of Photography, they determine how long each shot and scene will take. They break the script down in terms of timing, determining how long things will take and how to efficiently plan each day. As they are responsible for planning the shooting days, they also have a hand in making the call sheet. They also have the bigger picture in mind in terms of scheduling and a good AD can keep a production on budget \u2014 as time is money.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/chris-murray-iwfHhOZLVMU-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nArt Department<\/strong><\/h2>\n\n\n\nStoryboard Artist<\/strong><\/h3>\n\n\n\nPre-visualization is amazingly helpful to plan out your shots and stay on track while on set. Think of this as the movie, but in comic book form. The Storyboard Artist <\/strong>creates still images of the story in coordination with several different heads of departments, such as the Director, Director of Photography, and Production Designer. They lay out the film in individual images, which help give an idea of how the story will flow visually. A good Storyboard Artist can help you visualize the film ahead of time, guiding the different departments as they make their decisions when trying to make the best film possible.<\/p>\n\n\n\nProp Master<\/strong><\/h3>\n\n\n\nThe Prop Department is in charge of creating, renting, storing, and maintaining the safety of the movable items you see in a film. This includes objects such as a gun, carpet, and likely one of the most famous props of all time \u2014 the lightsaber. Prop Masters<\/strong>, like the Production Designer, have a deep knowledge of time periods and historical usage of the items they are responsible for.<\/p>\n\n\n\nSet Construction Coordinator<\/strong><\/h3>\n\n\n\nCan we build it? Yes we can! From their title, you can picture what they do. Set Construction Coordinators <\/strong>coordinate the building of sets and scenery. They often are working from either scale models, drawings that have precise dimensions, or even 3D modeling software. They work very closely with the Production Designer.<\/p>\n\n\n\nSet Decorator<\/strong><\/h3>\n\n\n\nThe Set Decorator<\/strong> adds in detail to the film location. Their purpose is to help set the mood of the scene. They are very closely related to the Props Department. Set Decorators work on furnishing the set \u2014 such as placing drapes and lights \u2014 usually in coordination with the Lighting Department when there is crossover when dealing with object that transmit or emit light. They also place books, carpets, and other items that help set the mood and look of a set.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/joel-muniz-SdjKhSMoQDU-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nCamera Department<\/strong><\/h2>\n\n\n\nDirector of Photography\/Cinematographer<\/strong><\/h3>\n\n\n\nThis is the person making a frame with his hands and looking through it with one eye. The Director of Photography<\/strong> (DP), also called a Cinematographer, is in charge of the visuals of the film through the lighting and camera choices they make. They collaborate extremely closely with the Director to ensure they are on the same page and that the story is being told in a visually engaging way. The DP is responsible for all camera movement, lens choices, and lighting decisions. They create the look and feel of the visuals you see.<\/p>\n\n\n\n1st AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/strong><\/h3>\n\n\n\nThe primary job of the 1st<\/sup> AC<\/strong>, or First Assistant Camera, is to make sure that what is supposed to be in focus is indeed in focus. In film, there is almost exclusively manual focusing. Professional film sets do not use autofocus as it can\u2019t feel where the focus needs to be. You still need to have a human being determining where to focus and when to shift the focus. There is often a razor thin area that is in focus and, with time being a factor, a good 1st<\/sup> AC rarely misses focus. Imagine trying to keep a subject in focus when the subject is moving, the camera is moving, and there may not have been a rehearsal. It is a very difficult job suited to perfectionists.<\/p>\n\n\n\n2nd AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/h3>\n\n\n\nThe 2nd<\/sup> AC<\/strong>, or Second Assistant Camera, keeps all the camera gear well organized and maintained. They are responsible for making sure the 1st<\/sup> AC has what he needs before he needs it. When the 1st<\/sup> AC calls for lens wipe, blower, or the 50mm lens, the 2nd<\/sup> AC is responsible for getting it.<\/p>\n\n\n\nCamera Operator<\/strong><\/h3>\n\n\n\nOftentimes the DP operates the camera themselves but when they don\u2019t, they have a Camera Operator<\/strong>. Their job is to follow the action exactly as the DP wants. When a DP finds a camera operator \u2014 and really a camera team in general\u2014 that they like, they often stick with them as it makes production much more smooth.<\/p>\n\n\n\nSteadicam Operator<\/strong><\/h3>\n\n\n\nThe Steadicam Operator<\/strong> is a specific type of camera operator who is able to move through a scene while keeping the camera stable and the image free from camera shake. You will see them wearing a vest with a stabilizing arm coming out of it and the camera attached to that arm. A Steadicam Operator often has to make complicated movements and make them fluid. They often are tracking subjects \u2014 sometimes up or down stairs, through narrow corridors, or running alongside the subject. They keep you immersed in the action of the subject.<\/p>\n\n\n\nBTS Photographer\/Videographer<\/strong><\/h3>\n\n\n\nFilm sets are exciting places for the uninitiated. When people walk by a film set many people stop and look at least for a little bit. The BTS (Behind the Scenes) Photographer\/Videographer captures the story of the making of the film. This media is often very useful when marketing the film or trying to get people excited about the film. They take pictures of the crew doing their work, the cast preparing and also delivering their performances, and the equipment being operated such as the aforementioned Steadicam. Depending on the production they can do interviews with the cast and crew, and create a true story in a documentary sense of the making of the movie.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/izz-r-vz6pyjmAKzI-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nFood<\/strong><\/strong><\/h2>\n\n\n\nFood Stylist<\/strong><\/h3>\n\n\n\nThe Food Stylist<\/strong> is the master of lying with food. Motor oil instead of pancake syrup, glue instead of milk \u2014 they know all the tricks to make food look good for film. Although, often times you wouldn\u2019t want to eat their creations. They work closely with the Director, DP, and Art Department to make sure that the food that needs to be displayed looks exactly as intended. <\/p>\n\n\n\nCraft Services – Crafty<\/strong><\/h3>\n\n\n\nAlso known as Crafty<\/strong>, they are the people who keeps everyone on set from staging a walkout. They provide the most necessary service to the cast and crew \u2014 food. They provide the meals and snacks that keep you moving. I have honestly had many meals on set from Craft Services that were better than a high-end restaurant. Also, when you see food on set, make sure it is not part of the set or being prepped to be used on set. You don\u2019t want to anger the Art Department.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/jakob-owens-ycExgCMRggc-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nGrip and Electric (G&E)<\/strong><\/strong><\/h2>\n\n\n\nGaffer<\/strong><\/h3>\n\n\n\nThe Gaffer<\/strong> is the head of the lighting department and in charge of all lighting and power on set. They also come up with the lighting plan, determining which lights should go where in order to execute the vision of the DP. They put together a list of lighting equipment and crew that are needed to execute this lighting plan. A good gaffer understands how light works, has a deep understanding of the electricity required to run a set, and is a clear communicator with his team.<\/p>\n\n\n\nBest Boy\/Girl<\/strong><\/h3>\n\n\n\nThe position of Best Boy\/Girl<\/strong> is in charge of the logistics for the lighting department. They are the right hand of the Gaffer and handle paperwork, equipment ordering, scheduling, timesheets, and getting the appropriate lighting fixtures for the correct days. They also keep the lighting trucks organized so that equipment can be easily found.<\/p>\n\n\n\nElectrician<\/strong><\/h3>\n\n\n\nAlso known as a Lighting Technician or Spark, an Electrician<\/strong> will set up the lights per the direction of the Gaffer and the Best Boy\/Girl. They are the lighting army. They are responsible for making sure that the lights are well maintained and safely installed. There is often a lot of overhead lighting installed on sets and they have to make sure it is secured correctly.<\/p>\n\n\n\nKey Grip<\/strong><\/h3>\n\n\n\nThe Key Grip<\/strong> is in charge of the Grip Department which is in charge of controlling the lights \u2014 not setting them up. They place flags, diffusion, gels, and scrims, but never touch electricity. They are also responsible any time the camera needs support, such as attaching it to a car, cranes, or dolly. The Grip Department also has the responsibility to make sure the set is run safely.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/kal-visuals-fXKUp-AmYM4-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nSound<\/strong><\/strong><\/h2>\n\n\n\nLocation Sound Mixer<\/strong><\/h3>\n\n\n\nThe Sound Mixer<\/strong> is the person who captures all the audio from the set including dialogue and location sounds. They set up all the mics that record the sound. Sound Mixers also make sure they are working properly. They are balancing the audio on the fly as it is recorded to make sure that the audio is clean and that the levels are loud enough. They are the lead sound person in the Sound Department.<\/p>\n\n\n\nBoom Operator<\/strong><\/h3>\n\n\n\nIf you have watched outtakes, bloopers, or behind the scenes videos, you have likely seen someone holding a long pole with a mic on the end of it. This is the Boom Operator<\/strong>. Sometimes it is covered in a fluffy material that filters out wind noise and \u2014 I\u2019m not joking \u2014 that’s called a dead cat. Their job is to smoothly move the boom pole and microphone around the scene capturing the necessary sounds. This could be dialogue or location sounds. They also make sure the microphone is not in the frame. <\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/jakob-owens-lLT4FLiqlXo-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nLocations<\/strong><\/strong><\/h2>\n\n\n\nLocation Scout<\/strong><\/h3>\n\n\n\nThe Location Scout <\/strong>finds the locations that are used in the film. They have deep knowledge of different locations and property owners. They know to look for many pitfalls of seemingly good locations. Does the natural light work for the mood of the film, or will the production have to spend more time making it work? Is the location easily accessible or do you have to lug all the equipment, cast, and crew up a mountain to get there? How much will this location cost production? A good location scout can make life much easier for many departments.<\/p>\n\n\n\nLocation Manager<\/strong><\/h3>\n\n\n\nThe Location Manager<\/strong> is the go-between for Production and the property owner. They secure the contracts for the shooting period and make sure that the setting meets the Director\u2019s visual needs. They handle the logistics of the site, such as where all the trucks will park, hiring security if necessary, getting permits, as well as other duties related to making sure the site is locked. One of their most important duties is to make sure that the property owner is happy and that everything proceeds as planned and if something unexpected happens that the property owner feels assured that it will be taken care of.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/becca-mchaffie-Fzde_6ITjkw-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nCostume<\/strong><\/strong><\/h2>\n\n\n\nCostume Designer<\/strong><\/h3>\n\n\n\nThe Costume Designer <\/strong>is the fabric magician. They are basically a fashion designer who specifically work on film productions. They are responsible for the look, texture, color of the clothes you see in film \u2014 from everyday movies to period pieces. Costume Designers must collaborate with the Director, other members of production, and even sometimes the DP as lighting can affect color rendition.<\/p>\n\n\n\nCostume Supervisor<\/strong><\/h3>\n\n\n\nA Costume Supervisor<\/strong> is the office representative of the Costume Department. They do script breakdowns for budgeting purposes of renting or making costumes and manage the labor of costumers on set. This can include hiring extra costumers when it is required, such as for a scene with a large number of background characters. <\/p>\n\n\n\nSet Costumer<\/strong><\/h3>\n\n\n\nThe Set Costumer<\/strong> makes sure that the Costume Designers look and feel for the project is consistent on set. They make on-set repairs and make sure the outfits are maintained in the best condition. They also make sure the right accessories go with the right outfits, the right people get the right costumes, and that everything gets packed away and organized for an efficient turn around the next day or on the next set. <\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/freestocks-JfJjQgXpXeM-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nHair and Makeup (HMU)<\/strong><\/strong><\/h2>\n\n\n\nHair Stylist<\/strong><\/h3>\n\n\n\nNo matter how bad the situation, the hair must be perfect! The Hair Stylist maintains the hair of the principal actors and all background players. They add to the character creation through hair styling.<\/p>\n\n\n\n
Makeup Stylist<\/strong><\/h3>\n\n\n\n The job of the Makeup Artist \u2014 be it for normal makeup or special FX makeup \u2014<\/strong> is to sell the reality of the makeup as it pertains to whatever the character requires. They also are always on set, making sure that the makeup is consistent.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/brooks-leibee-dvxcZWAmZhg-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nScript<\/strong><\/strong><\/h2>\n\n\n\nScript Supervisor<\/strong><\/h3>\n\n\n\nAlso known as Continuity, the Script Supervisor<\/strong> is in charge of making sure that there is consistency in the smallest of details \u2014 such as making sure no one has a Starbucks latte on the set of Game of Thrones. Their job is to keep detailed notes on basically everything happening on the page and in the frame. Sometimes scenes are shot out of order or reshoots require you to know how the scene was done. Were they wearing glasses? How short was their hair? Did the background clock say 3pm? It is a massive amount of information to keep track of.<\/p>\n\n\n\nTeleprompter Operator<\/strong><\/h3>\n\n\n\nYou may be familiar with the way a teleprompter works from the local news. Text scrolls across a screen that is read by the person in front of it. The Teleprompter Operator<\/strong> is in charge of making sure the text is transcribed correctly, the software and hardware are working, and that the text is at a size easily legible for the talent to read.<\/p>\n\n\n\nVideo Assist Operator<\/strong><\/h3>\n\n\n\nThe Video Assist Operator<\/strong> sets up Video Village, which is where the image that the camera is shooting is displayed for the Director, Producer, Client, Script Supervisor, and a few others. They often set up several monitors and it is usually a wireless connection allowing the camera freedom of movement. <\/p>\n\n\n\n![\"\"](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/03\/alexander-popov-udUC_xx4V1Y-unsplash.jpg\")
Photo from Unsplash<\/figcaption><\/figure>\n\n\n\nFX and Stunts<\/strong><\/strong><\/h2>\n\n\n\nSpecial Effects Coordinator<\/strong><\/h3>\n\n\n\n Sometimes called the Special Effects Supervisor, the Special Effects Coordinator<\/strong> is in charge of the explosions, car crashes, fake weather, such as rain, fog, and wind, as well as anything that would be dangerous outside of the human element of a Stunt Coordinator. They make Christopher Nolan very happy and I am sure he makes them very happy by allowing them to crash a plane into a building.<\/p>\n\n\n\nStunts Coordinator<\/strong><\/h3>\n\n\n\nThe Stunts Coordinator<\/strong> is in charge of anything that is dangerous for an actor, or Stunt Performer. to do. Safety is their number one concern. Number two is making sure that the scene \u2014 usually a big action scene \u2014 looks realistic and evokes the correct emotion from the audience. They are often in charge of the choreography of the stunts and fight scenes.<\/p>\n\n\n\nThis is a good beginning, but nowhere near complete. Don\u2019t worry if you still don\u2019t exactly know what everyone does on a film set. Generally, every department is specialized and they have their own set of duties that another department may not need to be aware of. However, there are some departments that need to coordinate and you will learn about that very quickly. <\/p>\n\n\n\n
If you’re new to the industry and looking for more tips, check out these articles: <\/strong><\/p>\n\n\n\n
Production<\/strong><\/h2>\n\n\n\nExecutive Producer<\/strong><\/h3>\n\n\n\nExecutive Producers<\/strong> are the big dog of the production hierarchy and control the funding. They are sometimes people who have invested their own money into the film. Executive Producers are the people who deal with the film\u2019s financiers. They make sure that they keep them apprised of how the film is going. You often see big recognizable names in the credits as Executive Producers. This shows that these people are capable of not only acting or directing in big budget movies, but also of finding the way to get the money to make movies happen.<\/p>\n\n\n\nLine Producer<\/strong><\/h3>\n\n\n\nThe Line Producer<\/strong> is in charge of the purse strings and handles requests for more money. They are most active in preproduction, breaking down the script to assess how much everything will cost and come up with a budget. With this preliminary budget, they know about how much funding they need to make the movie happen.<\/p>\n\n\n\nProduction Designer<\/strong><\/h3>\n\n\n\nProduction Designers<\/strong> are the head of the Art Department and make up the visual look of the film in coordination with the Director and Producer. They work on the colors, visual style, and themes of the project. During the shooting, they make sure the set is perfect and that all elements of the scene are cohesive and to the highest standard.<\/p>\n\n\n\nProduction Coordinator<\/strong><\/h3>\n\n\n\nProduction Coordinators<\/strong> run the office that makes all the decisions that help keep a production running. They take care of travel arrangements, are aware of and secure all the different permits needed for the shoot, and hand out the latest versions of scripts and revisions, crew and cast list, and call sheets. Call sheets are the instructions that tell everyone when and where they need to be, what is being worked on that day, and other very useful information.<\/p>\n\n\n\nProduction Assistant<\/strong><\/h3>\n\n\n\nThis is the way many people get into the film industry. It is the entry-level position that lets you see the big show \u2014 hopefully get paid \u2014 and see what direction you might want to take for a career. The responsibilities of Production Assistant<\/strong> are to basically take marching orders from those above them. This can include answering phones and getting what is urgently needed on set. <\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nCreative<\/strong><\/h2>\n\n\n\nDirector<\/strong><\/strong><\/h3>\n\n\n\nEveryone knows the Director<\/strong> of the movie. What they don\u2019t know is the sheer amount of work and the millions of decisions \u2014 both large and small \u2014 that can only be answered by the Director. The best directors should be efficient and quick communicators, and they also always have the bigger picture in their mind. However, to me, the biggest responsibility of Director is to coax the best performance out of your actor. <\/p>\n\n\n\nAssistant Director<\/strong><\/h3>\n\n\n\nThe Assistant Director<\/strong> manages time. They do their absolute best to keep the production on time. Together, with the Director and the Director of Photography, they determine how long each shot and scene will take. They break the script down in terms of timing, determining how long things will take and how to efficiently plan each day. As they are responsible for planning the shooting days, they also have a hand in making the call sheet. They also have the bigger picture in mind in terms of scheduling and a good AD can keep a production on budget \u2014 as time is money.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nArt Department<\/strong><\/h2>\n\n\n\nStoryboard Artist<\/strong><\/h3>\n\n\n\nPre-visualization is amazingly helpful to plan out your shots and stay on track while on set. Think of this as the movie, but in comic book form. The Storyboard Artist <\/strong>creates still images of the story in coordination with several different heads of departments, such as the Director, Director of Photography, and Production Designer. They lay out the film in individual images, which help give an idea of how the story will flow visually. A good Storyboard Artist can help you visualize the film ahead of time, guiding the different departments as they make their decisions when trying to make the best film possible.<\/p>\n\n\n\nProp Master<\/strong><\/h3>\n\n\n\nThe Prop Department is in charge of creating, renting, storing, and maintaining the safety of the movable items you see in a film. This includes objects such as a gun, carpet, and likely one of the most famous props of all time \u2014 the lightsaber. Prop Masters<\/strong>, like the Production Designer, have a deep knowledge of time periods and historical usage of the items they are responsible for.<\/p>\n\n\n\nSet Construction Coordinator<\/strong><\/h3>\n\n\n\nCan we build it? Yes we can! From their title, you can picture what they do. Set Construction Coordinators <\/strong>coordinate the building of sets and scenery. They often are working from either scale models, drawings that have precise dimensions, or even 3D modeling software. They work very closely with the Production Designer.<\/p>\n\n\n\nSet Decorator<\/strong><\/h3>\n\n\n\nThe Set Decorator<\/strong> adds in detail to the film location. Their purpose is to help set the mood of the scene. They are very closely related to the Props Department. Set Decorators work on furnishing the set \u2014 such as placing drapes and lights \u2014 usually in coordination with the Lighting Department when there is crossover when dealing with object that transmit or emit light. They also place books, carpets, and other items that help set the mood and look of a set.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nCamera Department<\/strong><\/h2>\n\n\n\nDirector of Photography\/Cinematographer<\/strong><\/h3>\n\n\n\nThis is the person making a frame with his hands and looking through it with one eye. The Director of Photography<\/strong> (DP), also called a Cinematographer, is in charge of the visuals of the film through the lighting and camera choices they make. They collaborate extremely closely with the Director to ensure they are on the same page and that the story is being told in a visually engaging way. The DP is responsible for all camera movement, lens choices, and lighting decisions. They create the look and feel of the visuals you see.<\/p>\n\n\n\n1st AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/strong><\/h3>\n\n\n\nThe primary job of the 1st<\/sup> AC<\/strong>, or First Assistant Camera, is to make sure that what is supposed to be in focus is indeed in focus. In film, there is almost exclusively manual focusing. Professional film sets do not use autofocus as it can\u2019t feel where the focus needs to be. You still need to have a human being determining where to focus and when to shift the focus. There is often a razor thin area that is in focus and, with time being a factor, a good 1st<\/sup> AC rarely misses focus. Imagine trying to keep a subject in focus when the subject is moving, the camera is moving, and there may not have been a rehearsal. It is a very difficult job suited to perfectionists.<\/p>\n\n\n\n2nd AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/h3>\n\n\n\nThe 2nd<\/sup> AC<\/strong>, or Second Assistant Camera, keeps all the camera gear well organized and maintained. They are responsible for making sure the 1st<\/sup> AC has what he needs before he needs it. When the 1st<\/sup> AC calls for lens wipe, blower, or the 50mm lens, the 2nd<\/sup> AC is responsible for getting it.<\/p>\n\n\n\nCamera Operator<\/strong><\/h3>\n\n\n\nOftentimes the DP operates the camera themselves but when they don\u2019t, they have a Camera Operator<\/strong>. Their job is to follow the action exactly as the DP wants. When a DP finds a camera operator \u2014 and really a camera team in general\u2014 that they like, they often stick with them as it makes production much more smooth.<\/p>\n\n\n\nSteadicam Operator<\/strong><\/h3>\n\n\n\nThe Steadicam Operator<\/strong> is a specific type of camera operator who is able to move through a scene while keeping the camera stable and the image free from camera shake. You will see them wearing a vest with a stabilizing arm coming out of it and the camera attached to that arm. A Steadicam Operator often has to make complicated movements and make them fluid. They often are tracking subjects \u2014 sometimes up or down stairs, through narrow corridors, or running alongside the subject. They keep you immersed in the action of the subject.<\/p>\n\n\n\nBTS Photographer\/Videographer<\/strong><\/h3>\n\n\n\nFilm sets are exciting places for the uninitiated. When people walk by a film set many people stop and look at least for a little bit. The BTS (Behind the Scenes) Photographer\/Videographer captures the story of the making of the film. This media is often very useful when marketing the film or trying to get people excited about the film. They take pictures of the crew doing their work, the cast preparing and also delivering their performances, and the equipment being operated such as the aforementioned Steadicam. Depending on the production they can do interviews with the cast and crew, and create a true story in a documentary sense of the making of the movie.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nFood<\/strong><\/strong><\/h2>\n\n\n\nFood Stylist<\/strong><\/h3>\n\n\n\nThe Food Stylist<\/strong> is the master of lying with food. Motor oil instead of pancake syrup, glue instead of milk \u2014 they know all the tricks to make food look good for film. Although, often times you wouldn\u2019t want to eat their creations. They work closely with the Director, DP, and Art Department to make sure that the food that needs to be displayed looks exactly as intended. <\/p>\n\n\n\nCraft Services – Crafty<\/strong><\/h3>\n\n\n\nAlso known as Crafty<\/strong>, they are the people who keeps everyone on set from staging a walkout. They provide the most necessary service to the cast and crew \u2014 food. They provide the meals and snacks that keep you moving. I have honestly had many meals on set from Craft Services that were better than a high-end restaurant. Also, when you see food on set, make sure it is not part of the set or being prepped to be used on set. You don\u2019t want to anger the Art Department.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nGrip and Electric (G&E)<\/strong><\/strong><\/h2>\n\n\n\nGaffer<\/strong><\/h3>\n\n\n\nThe Gaffer<\/strong> is the head of the lighting department and in charge of all lighting and power on set. They also come up with the lighting plan, determining which lights should go where in order to execute the vision of the DP. They put together a list of lighting equipment and crew that are needed to execute this lighting plan. A good gaffer understands how light works, has a deep understanding of the electricity required to run a set, and is a clear communicator with his team.<\/p>\n\n\n\nBest Boy\/Girl<\/strong><\/h3>\n\n\n\nThe position of Best Boy\/Girl<\/strong> is in charge of the logistics for the lighting department. They are the right hand of the Gaffer and handle paperwork, equipment ordering, scheduling, timesheets, and getting the appropriate lighting fixtures for the correct days. They also keep the lighting trucks organized so that equipment can be easily found.<\/p>\n\n\n\nElectrician<\/strong><\/h3>\n\n\n\nAlso known as a Lighting Technician or Spark, an Electrician<\/strong> will set up the lights per the direction of the Gaffer and the Best Boy\/Girl. They are the lighting army. They are responsible for making sure that the lights are well maintained and safely installed. There is often a lot of overhead lighting installed on sets and they have to make sure it is secured correctly.<\/p>\n\n\n\nKey Grip<\/strong><\/h3>\n\n\n\nThe Key Grip<\/strong> is in charge of the Grip Department which is in charge of controlling the lights \u2014 not setting them up. They place flags, diffusion, gels, and scrims, but never touch electricity. They are also responsible any time the camera needs support, such as attaching it to a car, cranes, or dolly. The Grip Department also has the responsibility to make sure the set is run safely.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nSound<\/strong><\/strong><\/h2>\n\n\n\nLocation Sound Mixer<\/strong><\/h3>\n\n\n\nThe Sound Mixer<\/strong> is the person who captures all the audio from the set including dialogue and location sounds. They set up all the mics that record the sound. Sound Mixers also make sure they are working properly. They are balancing the audio on the fly as it is recorded to make sure that the audio is clean and that the levels are loud enough. They are the lead sound person in the Sound Department.<\/p>\n\n\n\nBoom Operator<\/strong><\/h3>\n\n\n\nIf you have watched outtakes, bloopers, or behind the scenes videos, you have likely seen someone holding a long pole with a mic on the end of it. This is the Boom Operator<\/strong>. Sometimes it is covered in a fluffy material that filters out wind noise and \u2014 I\u2019m not joking \u2014 that’s called a dead cat. Their job is to smoothly move the boom pole and microphone around the scene capturing the necessary sounds. This could be dialogue or location sounds. They also make sure the microphone is not in the frame. <\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nLocations<\/strong><\/strong><\/h2>\n\n\n\nLocation Scout<\/strong><\/h3>\n\n\n\nThe Location Scout <\/strong>finds the locations that are used in the film. They have deep knowledge of different locations and property owners. They know to look for many pitfalls of seemingly good locations. Does the natural light work for the mood of the film, or will the production have to spend more time making it work? Is the location easily accessible or do you have to lug all the equipment, cast, and crew up a mountain to get there? How much will this location cost production? A good location scout can make life much easier for many departments.<\/p>\n\n\n\nLocation Manager<\/strong><\/h3>\n\n\n\nThe Location Manager<\/strong> is the go-between for Production and the property owner. They secure the contracts for the shooting period and make sure that the setting meets the Director\u2019s visual needs. They handle the logistics of the site, such as where all the trucks will park, hiring security if necessary, getting permits, as well as other duties related to making sure the site is locked. One of their most important duties is to make sure that the property owner is happy and that everything proceeds as planned and if something unexpected happens that the property owner feels assured that it will be taken care of.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nCostume<\/strong><\/strong><\/h2>\n\n\n\nCostume Designer<\/strong><\/h3>\n\n\n\nThe Costume Designer <\/strong>is the fabric magician. They are basically a fashion designer who specifically work on film productions. They are responsible for the look, texture, color of the clothes you see in film \u2014 from everyday movies to period pieces. Costume Designers must collaborate with the Director, other members of production, and even sometimes the DP as lighting can affect color rendition.<\/p>\n\n\n\nCostume Supervisor<\/strong><\/h3>\n\n\n\nA Costume Supervisor<\/strong> is the office representative of the Costume Department. They do script breakdowns for budgeting purposes of renting or making costumes and manage the labor of costumers on set. This can include hiring extra costumers when it is required, such as for a scene with a large number of background characters. <\/p>\n\n\n\nSet Costumer<\/strong><\/h3>\n\n\n\nThe Set Costumer<\/strong> makes sure that the Costume Designers look and feel for the project is consistent on set. They make on-set repairs and make sure the outfits are maintained in the best condition. They also make sure the right accessories go with the right outfits, the right people get the right costumes, and that everything gets packed away and organized for an efficient turn around the next day or on the next set. <\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nHair and Makeup (HMU)<\/strong><\/strong><\/h2>\n\n\n\nHair Stylist<\/strong><\/h3>\n\n\n\nNo matter how bad the situation, the hair must be perfect! The Hair Stylist maintains the hair of the principal actors and all background players. They add to the character creation through hair styling.<\/p>\n\n\n\n
Makeup Stylist<\/strong><\/h3>\n\n\n\n The job of the Makeup Artist \u2014 be it for normal makeup or special FX makeup \u2014<\/strong> is to sell the reality of the makeup as it pertains to whatever the character requires. They also are always on set, making sure that the makeup is consistent.<\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nScript<\/strong><\/strong><\/h2>\n\n\n\nScript Supervisor<\/strong><\/h3>\n\n\n\nAlso known as Continuity, the Script Supervisor<\/strong> is in charge of making sure that there is consistency in the smallest of details \u2014 such as making sure no one has a Starbucks latte on the set of Game of Thrones. Their job is to keep detailed notes on basically everything happening on the page and in the frame. Sometimes scenes are shot out of order or reshoots require you to know how the scene was done. Were they wearing glasses? How short was their hair? Did the background clock say 3pm? It is a massive amount of information to keep track of.<\/p>\n\n\n\nTeleprompter Operator<\/strong><\/h3>\n\n\n\nYou may be familiar with the way a teleprompter works from the local news. Text scrolls across a screen that is read by the person in front of it. The Teleprompter Operator<\/strong> is in charge of making sure the text is transcribed correctly, the software and hardware are working, and that the text is at a size easily legible for the talent to read.<\/p>\n\n\n\nVideo Assist Operator<\/strong><\/h3>\n\n\n\nThe Video Assist Operator<\/strong> sets up Video Village, which is where the image that the camera is shooting is displayed for the Director, Producer, Client, Script Supervisor, and a few others. They often set up several monitors and it is usually a wireless connection allowing the camera freedom of movement. <\/p>\n\n\n\nPhoto from Unsplash<\/figcaption><\/figure>\n\n\n\nFX and Stunts<\/strong><\/strong><\/h2>\n\n\n\nSpecial Effects Coordinator<\/strong><\/h3>\n\n\n\n Sometimes called the Special Effects Supervisor, the Special Effects Coordinator<\/strong> is in charge of the explosions, car crashes, fake weather, such as rain, fog, and wind, as well as anything that would be dangerous outside of the human element of a Stunt Coordinator. They make Christopher Nolan very happy and I am sure he makes them very happy by allowing them to crash a plane into a building.<\/p>\n\n\n\nStunts Coordinator<\/strong><\/h3>\n\n\n\nThe Stunts Coordinator<\/strong> is in charge of anything that is dangerous for an actor, or Stunt Performer. to do. Safety is their number one concern. Number two is making sure that the scene \u2014 usually a big action scene \u2014 looks realistic and evokes the correct emotion from the audience. They are often in charge of the choreography of the stunts and fight scenes.<\/p>\n\n\n\nThis is a good beginning, but nowhere near complete. Don\u2019t worry if you still don\u2019t exactly know what everyone does on a film set. Generally, every department is specialized and they have their own set of duties that another department may not need to be aware of. However, there are some departments that need to coordinate and you will learn about that very quickly. <\/p>\n\n\n\n
If you’re new to the industry and looking for more tips, check out these articles: <\/strong><\/p>\n\n\n\n
Executive Producers<\/strong> are the big dog of the production hierarchy and control the funding. They are sometimes people who have invested their own money into the film. Executive Producers are the people who deal with the film\u2019s financiers. They make sure that they keep them apprised of how the film is going. You often see big recognizable names in the credits as Executive Producers. This shows that these people are capable of not only acting or directing in big budget movies, but also of finding the way to get the money to make movies happen.<\/p>\n\n\n\n The Line Producer<\/strong> is in charge of the purse strings and handles requests for more money. They are most active in preproduction, breaking down the script to assess how much everything will cost and come up with a budget. With this preliminary budget, they know about how much funding they need to make the movie happen.<\/p>\n\n\n\n Production Designers<\/strong> are the head of the Art Department and make up the visual look of the film in coordination with the Director and Producer. They work on the colors, visual style, and themes of the project. During the shooting, they make sure the set is perfect and that all elements of the scene are cohesive and to the highest standard.<\/p>\n\n\n\n Production Coordinators<\/strong> run the office that makes all the decisions that help keep a production running. They take care of travel arrangements, are aware of and secure all the different permits needed for the shoot, and hand out the latest versions of scripts and revisions, crew and cast list, and call sheets. Call sheets are the instructions that tell everyone when and where they need to be, what is being worked on that day, and other very useful information.<\/p>\n\n\n\n This is the way many people get into the film industry. It is the entry-level position that lets you see the big show \u2014 hopefully get paid \u2014 and see what direction you might want to take for a career. The responsibilities of Production Assistant<\/strong> are to basically take marching orders from those above them. This can include answering phones and getting what is urgently needed on set. <\/p>\n\n\n\n Everyone knows the Director<\/strong> of the movie. What they don\u2019t know is the sheer amount of work and the millions of decisions \u2014 both large and small \u2014 that can only be answered by the Director. The best directors should be efficient and quick communicators, and they also always have the bigger picture in their mind. However, to me, the biggest responsibility of Director is to coax the best performance out of your actor. <\/p>\n\n\n\n The Assistant Director<\/strong> manages time. They do their absolute best to keep the production on time. Together, with the Director and the Director of Photography, they determine how long each shot and scene will take. They break the script down in terms of timing, determining how long things will take and how to efficiently plan each day. As they are responsible for planning the shooting days, they also have a hand in making the call sheet. They also have the bigger picture in mind in terms of scheduling and a good AD can keep a production on budget \u2014 as time is money.<\/p>\n\n\n\n Pre-visualization is amazingly helpful to plan out your shots and stay on track while on set. Think of this as the movie, but in comic book form. The Storyboard Artist <\/strong>creates still images of the story in coordination with several different heads of departments, such as the Director, Director of Photography, and Production Designer. They lay out the film in individual images, which help give an idea of how the story will flow visually. A good Storyboard Artist can help you visualize the film ahead of time, guiding the different departments as they make their decisions when trying to make the best film possible.<\/p>\n\n\n\n The Prop Department is in charge of creating, renting, storing, and maintaining the safety of the movable items you see in a film. This includes objects such as a gun, carpet, and likely one of the most famous props of all time \u2014 the lightsaber. Prop Masters<\/strong>, like the Production Designer, have a deep knowledge of time periods and historical usage of the items they are responsible for.<\/p>\n\n\n\n Can we build it? Yes we can! From their title, you can picture what they do. Set Construction Coordinators <\/strong>coordinate the building of sets and scenery. They often are working from either scale models, drawings that have precise dimensions, or even 3D modeling software. They work very closely with the Production Designer.<\/p>\n\n\n\n The Set Decorator<\/strong> adds in detail to the film location. Their purpose is to help set the mood of the scene. They are very closely related to the Props Department. Set Decorators work on furnishing the set \u2014 such as placing drapes and lights \u2014 usually in coordination with the Lighting Department when there is crossover when dealing with object that transmit or emit light. They also place books, carpets, and other items that help set the mood and look of a set.<\/p>\n\n\n\n This is the person making a frame with his hands and looking through it with one eye. The Director of Photography<\/strong> (DP), also called a Cinematographer, is in charge of the visuals of the film through the lighting and camera choices they make. They collaborate extremely closely with the Director to ensure they are on the same page and that the story is being told in a visually engaging way. The DP is responsible for all camera movement, lens choices, and lighting decisions. They create the look and feel of the visuals you see.<\/p>\n\n\n\n The primary job of the 1st<\/sup> AC<\/strong>, or First Assistant Camera, is to make sure that what is supposed to be in focus is indeed in focus. In film, there is almost exclusively manual focusing. Professional film sets do not use autofocus as it can\u2019t feel where the focus needs to be. You still need to have a human being determining where to focus and when to shift the focus. There is often a razor thin area that is in focus and, with time being a factor, a good 1st<\/sup> AC rarely misses focus. Imagine trying to keep a subject in focus when the subject is moving, the camera is moving, and there may not have been a rehearsal. It is a very difficult job suited to perfectionists.<\/p>\n\n\n\n The 2nd<\/sup> AC<\/strong>, or Second Assistant Camera, keeps all the camera gear well organized and maintained. They are responsible for making sure the 1st<\/sup> AC has what he needs before he needs it. When the 1st<\/sup> AC calls for lens wipe, blower, or the 50mm lens, the 2nd<\/sup> AC is responsible for getting it.<\/p>\n\n\n\n Oftentimes the DP operates the camera themselves but when they don\u2019t, they have a Camera Operator<\/strong>. Their job is to follow the action exactly as the DP wants. When a DP finds a camera operator \u2014 and really a camera team in general\u2014 that they like, they often stick with them as it makes production much more smooth.<\/p>\n\n\n\n The Steadicam Operator<\/strong> is a specific type of camera operator who is able to move through a scene while keeping the camera stable and the image free from camera shake. You will see them wearing a vest with a stabilizing arm coming out of it and the camera attached to that arm. A Steadicam Operator often has to make complicated movements and make them fluid. They often are tracking subjects \u2014 sometimes up or down stairs, through narrow corridors, or running alongside the subject. They keep you immersed in the action of the subject.<\/p>\n\n\n\n Film sets are exciting places for the uninitiated. When people walk by a film set many people stop and look at least for a little bit. The BTS (Behind the Scenes) Photographer\/Videographer captures the story of the making of the film. This media is often very useful when marketing the film or trying to get people excited about the film. They take pictures of the crew doing their work, the cast preparing and also delivering their performances, and the equipment being operated such as the aforementioned Steadicam. Depending on the production they can do interviews with the cast and crew, and create a true story in a documentary sense of the making of the movie.<\/p>\n\n\n\n The Food Stylist<\/strong> is the master of lying with food. Motor oil instead of pancake syrup, glue instead of milk \u2014 they know all the tricks to make food look good for film. Although, often times you wouldn\u2019t want to eat their creations. They work closely with the Director, DP, and Art Department to make sure that the food that needs to be displayed looks exactly as intended. <\/p>\n\n\n\n Also known as Crafty<\/strong>, they are the people who keeps everyone on set from staging a walkout. They provide the most necessary service to the cast and crew \u2014 food. They provide the meals and snacks that keep you moving. I have honestly had many meals on set from Craft Services that were better than a high-end restaurant. Also, when you see food on set, make sure it is not part of the set or being prepped to be used on set. You don\u2019t want to anger the Art Department.<\/p>\n\n\n\n The Gaffer<\/strong> is the head of the lighting department and in charge of all lighting and power on set. They also come up with the lighting plan, determining which lights should go where in order to execute the vision of the DP. They put together a list of lighting equipment and crew that are needed to execute this lighting plan. A good gaffer understands how light works, has a deep understanding of the electricity required to run a set, and is a clear communicator with his team.<\/p>\n\n\n\n The position of Best Boy\/Girl<\/strong> is in charge of the logistics for the lighting department. They are the right hand of the Gaffer and handle paperwork, equipment ordering, scheduling, timesheets, and getting the appropriate lighting fixtures for the correct days. They also keep the lighting trucks organized so that equipment can be easily found.<\/p>\n\n\n\n Also known as a Lighting Technician or Spark, an Electrician<\/strong> will set up the lights per the direction of the Gaffer and the Best Boy\/Girl. They are the lighting army. They are responsible for making sure that the lights are well maintained and safely installed. There is often a lot of overhead lighting installed on sets and they have to make sure it is secured correctly.<\/p>\n\n\n\n The Key Grip<\/strong> is in charge of the Grip Department which is in charge of controlling the lights \u2014 not setting them up. They place flags, diffusion, gels, and scrims, but never touch electricity. They are also responsible any time the camera needs support, such as attaching it to a car, cranes, or dolly. The Grip Department also has the responsibility to make sure the set is run safely.<\/p>\n\n\n\n The Sound Mixer<\/strong> is the person who captures all the audio from the set including dialogue and location sounds. They set up all the mics that record the sound. Sound Mixers also make sure they are working properly. They are balancing the audio on the fly as it is recorded to make sure that the audio is clean and that the levels are loud enough. They are the lead sound person in the Sound Department.<\/p>\n\n\n\n If you have watched outtakes, bloopers, or behind the scenes videos, you have likely seen someone holding a long pole with a mic on the end of it. This is the Boom Operator<\/strong>. Sometimes it is covered in a fluffy material that filters out wind noise and \u2014 I\u2019m not joking \u2014 that’s called a dead cat. Their job is to smoothly move the boom pole and microphone around the scene capturing the necessary sounds. This could be dialogue or location sounds. They also make sure the microphone is not in the frame. <\/p>\n\n\n\n The Location Scout <\/strong>finds the locations that are used in the film. They have deep knowledge of different locations and property owners. They know to look for many pitfalls of seemingly good locations. Does the natural light work for the mood of the film, or will the production have to spend more time making it work? Is the location easily accessible or do you have to lug all the equipment, cast, and crew up a mountain to get there? How much will this location cost production? A good location scout can make life much easier for many departments.<\/p>\n\n\n\n The Location Manager<\/strong> is the go-between for Production and the property owner. They secure the contracts for the shooting period and make sure that the setting meets the Director\u2019s visual needs. They handle the logistics of the site, such as where all the trucks will park, hiring security if necessary, getting permits, as well as other duties related to making sure the site is locked. One of their most important duties is to make sure that the property owner is happy and that everything proceeds as planned and if something unexpected happens that the property owner feels assured that it will be taken care of.<\/p>\n\n\n\n The Costume Designer <\/strong>is the fabric magician. They are basically a fashion designer who specifically work on film productions. They are responsible for the look, texture, color of the clothes you see in film \u2014 from everyday movies to period pieces. Costume Designers must collaborate with the Director, other members of production, and even sometimes the DP as lighting can affect color rendition.<\/p>\n\n\n\n A Costume Supervisor<\/strong> is the office representative of the Costume Department. They do script breakdowns for budgeting purposes of renting or making costumes and manage the labor of costumers on set. This can include hiring extra costumers when it is required, such as for a scene with a large number of background characters. <\/p>\n\n\n\n The Set Costumer<\/strong> makes sure that the Costume Designers look and feel for the project is consistent on set. They make on-set repairs and make sure the outfits are maintained in the best condition. They also make sure the right accessories go with the right outfits, the right people get the right costumes, and that everything gets packed away and organized for an efficient turn around the next day or on the next set. <\/p>\n\n\n\n No matter how bad the situation, the hair must be perfect! The Hair Stylist maintains the hair of the principal actors and all background players. They add to the character creation through hair styling.<\/p>\n\n\n\n The job of the Makeup Artist \u2014 be it for normal makeup or special FX makeup \u2014<\/strong> is to sell the reality of the makeup as it pertains to whatever the character requires. They also are always on set, making sure that the makeup is consistent.<\/p>\n\n\n\n Also known as Continuity, the Script Supervisor<\/strong> is in charge of making sure that there is consistency in the smallest of details \u2014 such as making sure no one has a Starbucks latte on the set of Game of Thrones. Their job is to keep detailed notes on basically everything happening on the page and in the frame. Sometimes scenes are shot out of order or reshoots require you to know how the scene was done. Were they wearing glasses? How short was their hair? Did the background clock say 3pm? It is a massive amount of information to keep track of.<\/p>\n\n\n\n You may be familiar with the way a teleprompter works from the local news. Text scrolls across a screen that is read by the person in front of it. The Teleprompter Operator<\/strong> is in charge of making sure the text is transcribed correctly, the software and hardware are working, and that the text is at a size easily legible for the talent to read.<\/p>\n\n\n\n The Video Assist Operator<\/strong> sets up Video Village, which is where the image that the camera is shooting is displayed for the Director, Producer, Client, Script Supervisor, and a few others. They often set up several monitors and it is usually a wireless connection allowing the camera freedom of movement. <\/p>\n\n\n\n Sometimes called the Special Effects Supervisor, the Special Effects Coordinator<\/strong> is in charge of the explosions, car crashes, fake weather, such as rain, fog, and wind, as well as anything that would be dangerous outside of the human element of a Stunt Coordinator. They make Christopher Nolan very happy and I am sure he makes them very happy by allowing them to crash a plane into a building.<\/p>\n\n\n\n The Stunts Coordinator<\/strong> is in charge of anything that is dangerous for an actor, or Stunt Performer. to do. Safety is their number one concern. Number two is making sure that the scene \u2014 usually a big action scene \u2014 looks realistic and evokes the correct emotion from the audience. They are often in charge of the choreography of the stunts and fight scenes.<\/p>\n\n\n\n This is a good beginning, but nowhere near complete. Don\u2019t worry if you still don\u2019t exactly know what everyone does on a film set. Generally, every department is specialized and they have their own set of duties that another department may not need to be aware of. However, there are some departments that need to coordinate and you will learn about that very quickly. <\/p>\n\n\n\n If you’re new to the industry and looking for more tips, check out these articles: <\/strong><\/p>\n\n\n\nLine Producer<\/strong><\/h3>\n\n\n\n
Production Designer<\/strong><\/h3>\n\n\n\n
Production Coordinator<\/strong><\/h3>\n\n\n\n
Production Assistant<\/strong><\/h3>\n\n\n\n
Creative<\/strong><\/h2>\n\n\n\n
Director<\/strong><\/strong><\/h3>\n\n\n\n
Assistant Director<\/strong><\/h3>\n\n\n\n
Art Department<\/strong><\/h2>\n\n\n\n
Storyboard Artist<\/strong><\/h3>\n\n\n\n
Prop Master<\/strong><\/h3>\n\n\n\n
Set Construction Coordinator<\/strong><\/h3>\n\n\n\n
Set Decorator<\/strong><\/h3>\n\n\n\n
Camera Department<\/strong><\/h2>\n\n\n\n
Director of Photography\/Cinematographer<\/strong><\/h3>\n\n\n\n
1st AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/strong><\/h3>\n\n\n\n
2nd AC<\/strong> (Assistant Camera<\/strong><\/strong>)<\/h3>\n\n\n\n
Camera Operator<\/strong><\/h3>\n\n\n\n
Steadicam Operator<\/strong><\/h3>\n\n\n\n
BTS Photographer\/Videographer<\/strong><\/h3>\n\n\n\n
Food<\/strong><\/strong><\/h2>\n\n\n\n
Food Stylist<\/strong><\/h3>\n\n\n\n
Craft Services – Crafty<\/strong><\/h3>\n\n\n\n
Grip and Electric (G&E)<\/strong><\/strong><\/h2>\n\n\n\n
Gaffer<\/strong><\/h3>\n\n\n\n
Best Boy\/Girl<\/strong><\/h3>\n\n\n\n
Electrician<\/strong><\/h3>\n\n\n\n
Key Grip<\/strong><\/h3>\n\n\n\n
Sound<\/strong><\/strong><\/h2>\n\n\n\n
Location Sound Mixer<\/strong><\/h3>\n\n\n\n
Boom Operator<\/strong><\/h3>\n\n\n\n
Locations<\/strong><\/strong><\/h2>\n\n\n\n
Location Scout<\/strong><\/h3>\n\n\n\n
Location Manager<\/strong><\/h3>\n\n\n\n
Costume<\/strong><\/strong><\/h2>\n\n\n\n
Costume Designer<\/strong><\/h3>\n\n\n\n
Costume Supervisor<\/strong><\/h3>\n\n\n\n
Set Costumer<\/strong><\/h3>\n\n\n\n
Hair and Makeup (HMU)<\/strong><\/strong><\/h2>\n\n\n\n
Hair Stylist<\/strong><\/h3>\n\n\n\n
Makeup Stylist<\/strong><\/h3>\n\n\n\n
Script<\/strong><\/strong><\/h2>\n\n\n\n
Script Supervisor<\/strong><\/h3>\n\n\n\n
Teleprompter Operator<\/strong><\/h3>\n\n\n\n
Video Assist Operator<\/strong><\/h3>\n\n\n\n
FX and Stunts<\/strong><\/strong><\/h2>\n\n\n\n
Special Effects Coordinator<\/strong><\/h3>\n\n\n\n
Stunts Coordinator<\/strong><\/h3>\n\n\n\n