POSITIONS IN FILM & TELEVISION ANIMAL WRANGLER (IATSE) Assistant Animal Wrangler Head Wrangler ANIMATION (Non-Union) Animator Trainee Storyboard Artist Silicone Mixer (Stop Motion) Armature Builder (Stop Motion) Layout Artist/Inker In-Between Animator Flash Animatic Assembler Digital Background Painter Animator ART DEPARTMENT (DGC) Production Designer Art Director Assistant Art Director Graphic Designer Draftsperson Art Department Coordinator Story Board Artist Art Department Production Assistant ASSISTANT DIRECTOR (DGC) 1st Assistant Director 2nd Assistant Director 3rd Assistant Director Training Assistant Director (TAD) Floor Director CAMERA (IATSE 669) Director of Photography/Cinematographer Camera Operator Focus Puller 1st Camera Assist 2nd Camera Assist 3rd Camera Assist Clapper/Loader Camera Trainee Steadicam Operator Videographer Stills Photographer Documentary Camera Assistant Studio Camera Operator CASTING (Non-Union) Casting Director Assistant Casting Director Extras Casting Director Casting Assistant CONSTRUCTION (IATSE) Construction Labourer Metal Fabricator Assistant Maintenance Person Upholsterer Construction Buyer Modeller Carpenter Scenic Carpenter Sculptor Scenic Metal Fabricator Lead Metal Fabricator Journeyman Carpenter On Set Carpenter Assistant Head Carpenter Lead Carpenter Construction Department Assistant Head Carpenter Construction Foreman Construction Co-ordinator Painter Assistant Wallpaper Hanger Plasterer Painter Sign Painter On-Set Painter Scenic Artist Lead Painter Paint Foreman Key Scenic Artist Paint Coordinator CONTINUITY/SCRIPT SUPERVISOR (IATSE) Script Supervisor (Continuity) Assistant Script Supervisor FACS (IATSE) Craft Services Assistant EMT-A First Aid Attendant 1st Assistant Craft Services Key First Aid/Craft Coordinator with First Aid GREENS (IATSE) Greens Helper Greensperson Best Boy Greens Head Greensperson COSTUME (IATSE) Costume Assistant Breakdown Artist Dresser Stitcher First Hand/Senior Stitcher Seamstress Tailor/Milner Costume Buyer Extras Coordinator Performers Costumer Set Truck Costumer Costumer Set Supervisor Cutter Assistant Costume Designer Costume Coordinator Costume Designer CATERING SERVICES (IATSE) Assistant Chef Sous Chef Head Chef DIRECTOR (DGC) Director Director Observer Co-Director 2nd Unit Director Documentary Director Studio Director GRIPS (IATSE) Grip Trainee Grip Crew Rigging Grip Lead Grip Best Boy Rigging Grip Best Boy Grip Key Rigging Grip Dolly Grip Key Grip Swing (between Grip & Electric Departments) HAIR (IATSE) Hair Assistant Second Assistant Hair First Assistant Hair Key Hair SPFX/Period Hair LIGHTING (IATSE) Electrics Trainee Lamp Operator Generator Operator Set Wireman Hi-Rigger Best Boy Electric Rigging Gaffer Gaffer Studio Lighting Director Studio Assistant Lighting Director LOCATIONS (DGC) Location Manager Assistant Location Manager Location Scout Location Security Location Lock Off Location Production Assistant MAKE UP (IATSE) Makeup Trainee Second Assistant Makeup First Assistant Makeup Special Skills Makeup Special Effects Make up Key Makeup PERFORMERS (ACTRA) Performer Announcer Animation Performer Singer Dancer Model Stand-In Narrator Choreographer Host POST PRODUCTION (DGC) Assistant Editor File Processing Technician Documentary Editor First Assistant Picture Editor Visual Effects Editor/Technician Picture Editor Supervising Picture Editor Music/Sound Editor Graphic Artist Post Production Coordinator Web Programmer Web Designer PRODUCING TEAM (Non-Union) Executive Producer Producer Co-Producer Line Producer Associate Producer Assistant to the Producer Producer Intern Business Affairs Assistant PRODUCTION OFFICE (DGC) Production Manager Assistant Production Manager Unit Manager Trainee Production Coordinator Production Coordinator Assistant Production Coordinator Office Production Assistant Set Runner Production Accountant Assistant Production Accountant 2nd Assistant Accountant Production Bookkeeper Accounting File Clerk PROPS (IATSE) Props Trainee Props Crew Props Builder Weapons Handler Armourer Props Buyer Assistant Props Master Firearms Safety Coordinator Props Master On Set Props Dresser Special Effects Coordinator Pyrotechnic Specialist Gun Wrangler PUBLICITY (Non-Union) Publicist Publicity Assistant SET DECORATOR (IATSE) Set Dec Production Assistant Set Dec Crew Set Dresser Draper/Upholsterer On-Set Dresser Set Buyer Assistant Set Decorator Lead Set Decorator Set Decorator SOUND (IATSE) Location Sound Assistant Cable Puller 2nd Boom Operator Playback Operator Boom Operator Production Sound Mixer Post Sound Trainee Assistant Dialouge Editor ADR Recording Engineer Foley Recordist/Editor Sound EFX/Dialouge Editor Loop Group Recordist/Editor Music Editor Master Mixer/M&E Engineer Assistant Sound Supervisor Loop Group Spotter/Producer Re-Recording Mixer Sound Supervisor/Designer Sound Production Manager Composer SPECIAL EFFECTS (IATSE) 3rd Assistant/Trainee 2nd Assistant SPFX Special Effects Fabricator/Buyer First Assistant Special Effects Key SPFX Special Effects Coordinator STORY DEPARTMENT (Non-union) Story Department Trainee Story Department Coordinator Researcher Story Editor Executive Story Editor Documentary Writer Screenwriter STUNTS (IATSE) Stunt Coordinator Stunt Double TRANSPORTATION (IATSE) Driver Trainee Driver Class 4,5 Driver Class 1A,1,2,3 Honeywagon Driver Picture Vehicle Coordinator Transportation Coordinator Transportation Captain TUTORING (IATSE) Children's Tutor Child Wrangler WRANGLING (IATSE) Wrangler Trainee Wrangler Gang Boss Ramrod POSITION DESCRIPTIONS ART DEPARTMENT PRODUCTION DESIGNER The Production Designer, in conjunction with the Art Director is responsible for the entire visual look of a film. They make decisions about location, special effects, set decoration, props, make-up and wardrobe in the pre-production phase and supervise elements during shooting. They work closely with the Producer, Director and Director of Photography to realize these elements on film. ART DIRECTOR The Art Director coordinates the preparation and execution of all the visual elements of a production. They are responsible for administrating the budget of the Art Department and script breakdown. Duties include the preparation of working drawings, detailed drawings, lay-outs and design of any kind of use in the construction, painting or decorating of sets; dressing the interior and exterior sets and locations; and supervision of department crew. ART DEPARTMENT COORDINATOR The Art Department Coordinator assists the Art Director in the efficient operation of the departments. Duties include departmental communications, research, materials and services sourcing, budget tracking, scheduling and interdepartmental coordination. PROPERTY MASTER The Prop master is responsible for the preparation of a props breakdown. They also research the historical period of props, buildings and procure props to be seen on camera; arrange all necessary permits to convey restricted weapons; coordinate with wardrobe the required accessories. While on set the Props master will administer props to artists and strike and reset hot sets established by the Set Decorators. SET DECORATOR The Set Decorator works with the Production Designer/Art Director for the coordination and realization of the dressing of all studio and location sets, interior and exterior. They are also responsible for the research, purchase, rental, leasing, or acquisition of items used as set décor. ON-SET DRESSER The On-Set Dresser works with the Decorator and the Props master for onset continuity of Set Dressing. Duties include: placement and replacement of dressing for camera and continuity; care and safety of dressing pieces; and anticipation of camera shots. ASSISTANT DIRECTOR 1st ASSISTANT DIRECTOR (1ST AD) During pre-production the 1st AD is responsible for breaking down the script, preparing the one liner, shooting schedules and days out of days. During production the 1st AD assists the Director with on-set production detail, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. They determine cast and crew calls, direct background performers and supervise crowd control. 2nd ASSISTANT DIRECTOR The 2nd Assistant Director acts as an assistant to the 1st AD and is responsible for the preparation of call sheets, handling extras’ requisitions, prepare the daily production report; after shooting has started, distribute scripts, script revisions and call sheets to cast and crew, maintain liaison between the PM and the production office and the 1st AD on set. Assist the 1st AD in the direction and placement of background performers. Executes the DOP’s camera instructions by operating the camera and maintaining the composition established. 3rd ASSISTANT DIRECTOR (3RD AD) The 3rd Ad is responsible for signing in and out the performers on a set, making sure they get to hair, make-up and wardrobe on time, escorting them to set, preparing the production report and assisting the 1st and 2nd AD’s when needed. 1st ASSISTANT CAMERA/FOCUS PULLER Maintains and cleans the camera and sets up for each shot with appropriate lenses and filters. Also sets the stop and focus for each set up. Often responsible for shooting the camera stills. TRAINING ASSISTANT DIRECTOR (TAD) The TAD acts as a set “runner”, extras wrangler. They are responsible for the maintenance and distribution of walkie talking, writing down wrap times, counting the lunch line up, assisting cast, etc. CAMERA 2nd ASSISTANT CAMERA/CLAPPERS LOADER Loads and unloads the film, does the slating and is responsible for camera reports and paperwork. CONSTRUCTION CONSTRUCTION COORDINATOR (CARPS) The Construction Coordinator is responsible for all work in conjunction with the manufacturing and building of the sets, cut outs, scenic frames, parallels, platforms and all carpentry work related to the production. DIRECTOR OF PHOTOGRAPHY (DOP or DP) Directs all photography and oversees all lighting. They also, determine the photographic style of the film; maintains photographic continuity; works with the Director, Art Director, Costume Designer and Make-up Artists in determining visual style. Determines equipment requirements for each location, camera lens, camera position, filtering, dolly, directs lighting, instructs lab for proper handling and development of film, and participates in colour timing and video transfer. CARPENTERS Under the direction of the Construction Coordinator, the carpenters construct the set. CAMERA OPERATOR COSTUMER COSTUME COSTUME DESIGNER The Costume Designer determines the costume needs of the production. Duties include script breakdown, costume plots, sketches, costume renderings, budgeting, selection of material, selection of costumes and accessories, hiring of personnel and scheduling. The Consumer is responsible for organizing work and storage areas, managing costume inventory, shop supplies and equipment, supervising set up and wrap, scheduling fittings, arranging rentals, shopping and arranging transportation of costumes and supplies to and from the set. They are also responsible for the laundry, ironing, fittings and alterations. BREAKDOWN ARTIST The Breakdown Artist is responsible for making new items look old and worn, especially on historical shows. They work with different dye techniques and solvents. ON SET DRESSER The On-Set Dresser is responsible for the continuity and maintenance of the performer’s wardrobe on set. They arrange the costumes for each scene and for each actor. DIRECTOR GRIPS KEY GRIP The Key Grip works in conjunction with the DOP to decide on the grip equipment, rentals and purchases necessary for the production. They Key Grip organizes the moving and striking of parallels, platforms, stage scenery, sets, drops, drapes, and cat walks. They further delegate the operation and movement of reflector boards, reflective material; and colour corrective gels and diffusions equipment; also the operation of camera dollies, cranes, mounts and any other camera or sound mobile equipment. BEST BOY GRIP The Best Boy Grip is an assistant to the Key Grip and is responsible for the maintenance, servicing and inventory control of all grip equipment. The Best Boy Grip is also responsible for the loading and unloading of vehicles used in the movement of grip equipment. DIRECTOR The Director’s total function is unique and requires participation in all creative phases of the production. The Director is responsible for translating the script into what is seen on screen, through performances, sets, wardrobe, audio, etc. DOLLY OPERATOR Dolly Operators are responsible for the moving on set of all camera dollies and cranes and maintenance of the same. They are a Grip specializing in camera movements via dollies of various kinds. FIRST AID/CRAFT SERVICES HAIR CRAFT SERVICE The Craft Service person sets up and maintains near the set, a craft service station complete with coffee, tea, water, cold drinks, fruit, pastries, snacks, gum, etc. They are responsible for providing pre-call breakfasts and a substantial snack every 3 hours. They are the first aid designate on set. KEY HAIR STYLIST In conjunction with the Producer, Director and Production Designer, the Hair stylist breaks down the script to figure out hair requirements. They also handle the maintenance and styling of wigs and hair pieces; cutting and colouring if artist’s hair. GAFFER/LIGHTING TECHNICIAN LIGHTING Working with the DOP, the Gaffer will decide on the lighting equipment and purchases necessary for the production. The gaffer is responsible for providing the intensities and lighting rations designed by the DOP. BEST BOY ELECTRIC The Best Boy Electric assists the Gaffer in the organization and ordering of equipment. Also assists in the loading of vehicles used by the lighting department. The Best Boy is responsible for having all equipment and personnel required on set and for the running maintenance of all the lighting equipment and accessories. GENERATOR OPERATOR The Genny Op is responsible for the running, maintenance and operation of the generators or power plants used by the production for all its power requirements. The Genny Op correctly balance all loads and ensures there is sufficient fuel at all time and is responsible for the safe hook up feed cables to electrical service as needed. LOCATIONS LOCATIONS MANAGER (LM) The Locations Manager is responsible for locating sites according to the requirements of the script. They contract property owners, negotiate rental rates, obtain necessary permits for locations, secure parking for production vehicles, arrange police assistance, location security, arrange for meal location, catering space, housing, dressing room space, equipment set up and storage, bathrooms, electrical tie ins. They also secure special equipment such as space heaters, masks, fans, etc. ASSISTANT LOCATION MANAGER (ALM) The Assistant Locations Manager oversees a location while shooting is occurring. The ALM is responsible for the Location PA’s on set, ensuring a location is properly cleaned upon completion of filming, and knowing all relevant information about the location such as where to find water, telephones and parking. LOCATION PRODUCTION ASST. The Location PA’s have a wide range of responsibility from: traffic (vehicle/pedestrian), lock off, crowd control, clean up and security. MAKE-UP KEY MAKE UP ARTIST In conjunction with the Producer, Director and Production Designer, the Make-up Artist breaks down the script to design the look; application, maintenance and removal of all make-up and appliances (foamed latex, gelatin, etc.) PAINT DEPARTMENT SCENIC PAINTER The Scenic Painter is responsible for painting the set/backdrops as per the Art Director. This involves breaking down a set to look old, painting floors to look like hardwood, etc. POST PRODUCTION SUPERVISING EDITOR The Supervising Editor works with the producer to oversee the budget and equipment rentals or leases. They act as a liaison between producers, labs, video post production houses and sound mixing facilities. They are responsible for the supervision of department staff and all editing of the picture on film, videotape or digital. The Supervising Editor oversees all phases of post production including sound editing and supervision of the sound mix to final release of the project. EDITOR The Editor works with the producers and the director for consultation on how the film should be edited. They are responsible for the actual editing and cutting of a picture of film, videotape or digital to completion of the final cut. The Editor coordinates and oversees the day to day activities of the editing room with all assistants. They also work with labs and video houses for final colour timing or colour corrections to the final cut. FIRST ASSISTANT EDITOR The duties of the First Assistant Editor are delegated by the Supervising Editor or the Editor. They are responsible for the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit. SECOND ASSISTANT EDITOR The Second Assistant Editor assists the First Assistant Editor in the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit. Additional duties may include the operation of an edge coding machine. SPECIAL EFFECTS EDITOR The Special Effects Editor works with the Supervising Editor to create the special effects using a variety of different editing programs and software. They are responsible for the actual editing of all special effects for a film, videotape or digital. The Special Effects editor oversees all steps of the SPFX editing including rough and final cuts. ASST. SPECIAL EFFECTS EDITOR The Assistant Special Effects Editor is responsible for the preparation of dailies for the SPFX Editor and screening; organizing and logging all dailies in preparation for SPFX editing; organizing all edit room paperwork, organizing all cuts, assemblies and rough cuts for output, transfer and viewing and general organization of the SPFX post production unit. SUPERVISING SOUND EDITOR The Supervising Sound Editor works with the producers to oversee the sound post production budget, sound post production staff, equipment and editing. Duties include: the supervision of all sound editing of film, videotape or digital. They are responsible for DIALOGUE EDITOR Under the direction of the Sound Editor, or in consultation with the Producer or Director the Dialogue Editor will complete the editing of all dialogue tracks, including location dialogue, additional dialogue replacement (ADR) and voice-overs; may oversee the rerecording of ADR; prepare all track and oversee all cue sheets for final sound mix of dialogue. ASSISTANT DIALOGUE EDITOR The Assistant Sound Effects Editor works with the Dialogue Editor and the Sound Supervisor in organizing and retransferring of all replacement dialogue, the cueing and organization of all additional ADR and voiceovers. They are also responsible for day to day operation of the dialogue editing machine, preparation of all tracks for the final mix (including wiping pictures and cleaning tracks) and overseeing the preparation of cue sheets. designing a workable system for, and overseeing all the phases of the sound cut, including the supervision and completions of the sound mix and all layback to picture or optical tracks. MUSIC EDITOR Under the direction of the Sound Supervisor, or in consultation with the Producer or Director, the Music Editor will complete the editing of all music tracks; may liaise and coordinate with the Music Composer; prepare all music tracks and cue sheets for the sound mix of music. The Sound Effect Editor works with the Sound Supervisor and the SPFX Editor to complete the editing of all sound effects tracks. This includes recording or manufacturing sound, overseeing the recording of the foley tracks; the preparation of all sound effect tracks and cue sheets for the final sound mix ASST. SOUND EFFECTS EDITOR The Assistant Sound Effect Editor works with the SPFX editor and the SPFX Sound Editor in searching, organizing and transferring all sound effects. They are also responsible for laying up of all sound effects tracks, overseeing the day to day operation of the SPFX editing unit; preparation of all sound effects tracks do the final sound mix, including the wiping of picture and cleaning of tracks. Also oversees the preparation of cue sheets. PRODUCERS SOUND EFFECTS EDITOR EXECUTIVE PRODUCER The Executive Producer secures the funding necessary to get a film into production. They usually are not involved in the day to day decision making once a production has begun. PRODUCER The Producer is the individual, firm, corporation or organization that controls, administer or is responsible for all aspects of the production. They oversee all aspects of a production at every stage along the way. medical for cast and crew, importing and exporting equipment, coordinate the shipment of film and sound tape to and from the lab and a myriad of other duties. ASST. PRODUCTION COORDINATOR The Assistant Production Coordinator assists the Production Coordinator with the running of the office. They are often responsible for completion of the call sheet and ensuring proper distribution of all paperwork. ASSOCIATE PRODUCER The Associate Producer is the right hand person to the Producer. They are responsible for clearances, contract completion, liaison with invertors, research and post production follow up. OFFICE PRODUCTION ASST. The Office PA assists the office with a number of tasks from photocopying, set runs, out of office errands, reception duties, filing, office set up and tear down, and some driver duties. PRODUCTION OFFICE SCRIPT SUPERVISOR PRODUCTION MANAGER The Production Manager is responsible to the Producers for ensuring the production runs smoothly and as planned, always keeping a close eye on budget and unnecessary expenses, such as time delays. They oversee all business and logistical arrangements for the production decisions and the hiring of the crew. SCRIPT SUPERVISOR (CONTINUITY) The duties of the script supervisor include the preparation of the script; verification of artist’s lines, timing of the script, run lines, assist with the blocking of scenes, notes any deviations from the script, keeps detailed notes of all action, positions, camera angles, additional progression, times the takes, furnishes the camera and sound with slate numbers and prints; make continuity notes along with a complete lined script for the days’ work for the editor; provides the office with a daily report as to the number of set ups, picture times, scenes and pages shot and cumulate time. PRODUCTION COORDINATOR The Production Coordinator runs the production office under the guidelines on the Production Manager. Tasks include set up and close down of the office, prepare and distribute shooting schedules, crew and cast lists, call sheets daily production reports, movement orders, and distribute scripts and script revisions. The Coordinator also coordinates all travel and accommodation, work visas, insurance SOUND SOUND MIXER/ENGINEER The Sound Mixer is in charge of recording, re-recording dubbing, synchronizing and scoring all of the sound on location. This includes dialog, sound effects, wild lines and room tone. BOOM OPERATOR (BOOM OP) The Boom Op is responsible for the placement of microphones (usually on a long boom pole) making sure that they do not interfere with the shot or surrounding of production; set-up and wrap sound equipment, place radio microphones and transmitters on artists. CABLE PULLER A Cable Puller is in charge is pulling microphone cable out of the way on moving shots. Also wires the actors. SPECIAL EFFECTS SPECIAL EFFECTS COORDINATOR The Sound Mixer determines the type and quality of sound equipment; the maintenance of log sheets for each roll of tape recorded, mark printed takes in conjunction with the Script Supervisor and Camera Assistant, and detailed script notes for the editor. 2ND ASST SPECIAL EFFECTS/BUYER The Second Assistant Special Effects/Buyer works with everyone in the SPFX team. They are delegated by the SPFX Coordinator and are responsible for buying the SPFX tools and materials. 3RD ASST SPECIAL EFFECTS The Third Assistant Special Effects performs duties outlined by the SPFX Coordinator or First Assistant Special Effects. The Special Effects Coordinator works with the Production Designer and Art Director to determine the budget and what SPFX are needed for a production. They are responsible for the supervision, manufacturing, setting up, operation, striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the SPFX Coordinator must be certified to handle those materials. 1ST ASST SPECIAL EFFECTS The duties of the First Assistant Special Effects are delegated by the Special Effects Coordinator. These duties include: setting up, and operating, striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the First Assistant Special Effects must be certified to handle those materials VISUAL EFFECTS SUPERVISOR/DIRECTOR The Visual Effects Supervisor is responsible for the daily operations of the department. They oversee the design of all 2-D and 3-D animation, optical and rotoscoping elements, (digital) “Off Line and On Line” complications, editing, and digital video effects (DVE) required in Post Production and Video Playback. The VFX Supervisor/Director is also responsible in directing all “VFX Plates” used in digital (chroma key/blue screen) matte background paintings and supervises all visual master SP/BETA video footage. VISUAL EFFECTS ASSISTANT The Visual Effects Assistant assists the VFX Supervisor/Director/CGI in all aspects of the VSF department. STORY DEPARTMENT STORY EDITOR The Story Editor works in cooperation with the Producer and the Director to make changes to the plot, storyline, characters, dialogue, etc. of the original screenplay. They “polish” the script. STORY DEPARTMENT COORDINATOR The Story Department Coordinator is responsible for the distribution of the script and any revisions to the Production Office. They are also responsible for the department’s budget, researching subject matter, typing in the script revisions and in some instances are responsible for the continuity of characters through out the script, especially in episodic television. They are also responsible for the sourcing and the ordering of office equipment. TRANSPORTATION TRANSPORTATION COORDINATOR The Transportation Coordinator is responsible for purchasing, leasing or renting any vehicles required on the production. They are also responsible for the scheduling, hiring and coordination of drivers and picture vehicles. DRIVER Drivers are responsible for driving cast to and from set and the airport; driving crew to locations, maintenance of rental vehicles, running paperwork to and from set/office; picking up various items for cast and crew. PLEASE NOTE: This is a summary of some of the key positions in a film/television production. Depending on the size of the production, each department may have many assistant positions or two or three of the same position. Many departments have people who work on a per day basis. They may work one day of the shoot or several days, depending on the needs of the department. Dailies often float between departments