Producer/Line Producer and UPM Duties & Checklist
Has ultimate responsibility for the project—from conception to completion. The Producer/Line
Producer (responsible for each ‘line’ of the budget) assigns/hires everyone in the project—from the
director to the production assistant. The producer is responsible for the budget, the schedule, and
the ultimate delivery of the project. The Unit Production Manager (UPM)/Associate Producer
works closely with the (line) producer, usually handling daily details related to the production.
Duties
Producer/Line Producer
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Convene and organize entire project
Recruit director, crew and assign responsibilities—hires and fires crew
Schedule entire project—preproduction/production/postproduction
Assume oversight responsibility for budget/finances
Participate in auditions and selection of actors
Approve and obtain permissions for locations
Secure insurance for production shoot through Media Center
Delegate duties to UPM/ Associate Producer
Unit Production Manager (UPM)/Associate Producer
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Creates schedule and agenda for production meetings
Contacts and instructs crew members regarding their schedules and responsibilities
Oversees location and equipment reservations and acquisitions
Assists in purchasing necessary materials for production, and general finances
Creates production schedule/daily call sheets
Supervises support crew for--or is primary provider of--craft services, location/set
department, transportation dept
Oversees all production details of a shoot day
Collects and holds receipts for all purchases
Assists in all aspects of preproduction production and post production
EQUIPMENT CHECKLIST
 Production Book (bible) with all production information (contact numbers, receipts, etc)
 Cell Phone
 Walkie Talkie
 Permits
 Insurance Forms
 Actor release and waiver forms
 Credit Card
 Cash
 Car
_________________
_________________
1
Director Duties & Checklist
Working closely with the Director of Photography, the Production Designer, the Sound
Designer, the Editor and other members of the creative team, the Director visualizes the
script, controlling a film's artistic and dramatic aspects, while guiding the crew and actors in
the fulfillment of his/her vision. The Director’s primary responsibility is to ensure the
desired performance of the actors. The Assistant Director (AD) works closely with the
Director and the entire crew.
Duties:
Director
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Oversees every creative aspect of the film
Decides look, tone for film
Works with Line Producer on schedules and production planning
Chooses locations (with aid of Location Scout)
Auditions and chooses actors
Chooses key crew members (in consultation with Line Producer)
Works closely with DP, Production Designer, Sound Designer, Editor
Conducts rehearsals
Directs actors on shoots
Works with Script Supervisor and AD on set
Oversees editing of scenes
Participates in sound mix and final cut of film
Assistant Director
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Participates in auditions for cast
Rehearses cast with director
Helps recruit crew
Sets the shooting schedule (scenes and shots per day) in consultation with DP
Tracks daily progress against production schedule
Arranges logistics
Prepares daily call sheets in conjunction with assistant producer
Acts as foreman for crew
Maintains order on the set
Calls intro for each shot: Sound, Camera, Actors Ready?
EQUIPMENT CHECKLIST
 Script
 Production Book
 Walkie Talkie
_________________
2
Script Supervisor Duties & Checklist
The Script Supervisor is responsible for maintaining the film's internal continuity—continuous
verbal and visual integrity-- and for marking the production unit's daily progress in shooting the
film's screenplay. The Script Supervisor is the right hand to the Director and DP, and is the writer
and editor’s representative on the set. This entails checking on and keeping detailed records of
dialogue, action, costumes, props and set design, so that when different takes and scenes are
finally edited together, the fictional world of the film is not disrupted by continuity errors which may
distract the audience. Script Supervisors closely observe every shot filmed, and take extremely
precise and detailed notes, in order to provide an authoritative reference point should any doubt
arise about how a previous take or scene was filmed. These reports provide an invaluable
resource for Directors and Editors enabling them to assess the coverage, including how many shot
options there are for each scene of the script, and exactly how each shot was filmed. Script
Supervisors are involved during pre–production and principal photography.
On each day of principal photography, Script Supervisors file reports and photographic records for
the previous day's shoot, and prepare all paperwork for post production. They check continuity
requirements for each scene to be shot. During filming they closely monitor the script to check that
no dialogue is overlooked, and cue actors where necessary. They keep detailed continuity notes
and photographs or sketches of each actor and camera position for each shot. They keep detailed
records of: all shot timings and camera movements, including jibs, pans, zooms, etc; whether the
scene is shot during the day or at night; any scene changes, and their implications; all slate and
scene number information; any inconsistencies, errors or other comments; all camera details
including lenses, focal distances, filters, etc.
They act as liasons about continuity with other departments including Costume, Make–up and
Hair, Props and Lighting. Where pick up shots are required, Script Supervisors provide actors with
dialogue start points, and exact continuity details. They also ensure that other departments are
aware of the status of each shot, and that clapper boards are marked up accordingly. Where more
than one camera is used, they ensure that each camera's output is accurately identified. They
confirm Directors' take preferences and note these for post production. They often assist Sound
Mixers in taking additional notes of any recorded wild tracks or voice–overs. Script Supervisors
re–type scripts to reflect any major dialogue changes, and mark up scripts with slate numbers, cut
points, and other relevant details for post production. They prepare detailed Daily Continuity
Reports, Editors' Daily Log Sheets and Daily Production Reports. They also provide production
with records of the requirements for any outstanding shots or inserts.
3
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Script Supervisor Duties & Checklist (continued)
Duties:
Monitors the script during shooting, noting changes made in action and dialogue.
Provide continuity information regarding set and costumes and props.
Prepares a production report each shooting day for the producer—including total number of shots
and scenes finished that day, numbers of pages of script covered.
EQUIPMENT CHECKLIST
 Script
 Computer/Notebook
Paper
 Pen
 Phone
_________________
_________________
4
Camera Department Duties & Checklist
Director of Photography (DP)
The Director of Photography is responsible for designing of shots and lighting of the set, working
closely with the Director and the Production Designer to give a film its visual signature. In our
program, the DP often functions as camera operator. The DP is assisted by a 1st Assistant
Camera person (AC) and sometimes a 2nd Assistant AC.
After reading the screenplay, the DP meets with the Director to discuss the visual style of the film.
They conduct research and preparation including carrying out technical research of locations. They
prepare a list of all required camera equipment, including lights, film stock, camera, cranes and all
accessories etc., and prepare storyboards and shotlists in consultation with the director.
Duties:
 Design of shots
 Creation of storyboards and shot lists
 Lighting design, in consultation with gaffer
 Reservation of camera and light equipment from cage
 Movement of camera with dolly and tracks, steadicam, jib arms.
EQUIPMENT CHECKLIST
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Cameras
Batteries
Light Meter
Memory Cards
Hard drive
Rain cover
Tripod (s)
Monitor
Monitor battery
Monitor cables (bnc)
 Steadicam
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Camera Department Duties & Checklist (continued)
1st Assistant Camera ( 1st AC)
1st ACs are responsible for camera equipment, including lenses, filters and matte boxes, and for
assembling the camera and its accessories for different shots. 1st ACs ensure that the camera and
all required lenses are prepared for the day's shoot. If the DP wants to try out a specific lens, the
1st AC assembles the camera so that they can look through the eyepiece to assess the shot. At
the end of each shooting day, 1st ACs clean the equipment and pack it up in preparation for the
next day. 1st ACs are responsible for focusing and refocusing the camera lens (pulling focus) as
actors move within the frame of each shot, using a special monitor, or a series of marks on the lens
or on the set.
Duties:
 First assistant to the DP
 Responsibility for camera equipment check-out, safe-keeping, and check-in.
 Build and breakdown the camera and accessories
 Position camera and tripod
 Focus pulling
 Spotting DP or cameraman with handheld or Steadicam
 Assist in camera movement with dollys and tracks, steadicam, jib arms.
2nd Assistant Camera ( 2nd AC)
2nd ACs assist the DP in positioning and moving the camera, and are responsible for loading and
unloading camera cards, changing and charging camera batteries, changing lenses, operating the
clapper board, filling out and filing all camera sheets. 2nd ACs work closely with 1st ACs (Focus
Pullers), and help them to build and break down the camera and all its accessories.
Duties:
 Assists 1st AD
 Help with camera equipment check-out, safe-keeping, and check-in.
 Help build and breakdown the camera and accessories
 Position camera and tripod
 Focus pulling
 Spotting DP or cameraman with handheld or Steadicam
 Assist in camera movement with dollys and tracks, steadicam, jib arms.
 Maintain camera report sheets.
 Download memory cards or safe-keeping of completed recorded raw footage tapes.
 Slate shots with clapboard.
6
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Camera Department Duties & Checklist (continued 2)
EQUIPMENT CHECKLIST (FOR BOTH AC’S)
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Cameras
Batteries
Memory Cards
Hard drive
Rain cover
Tripod (s)
Monitor
Monitor battery
Monitor cables (bnc)
Clapboard
Dry erase marker
Camera report sheet
AC kit (light meter, flashlight, tape measure, tape, etc)
_________________
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Auxiliary Camera Department Duties & Checklist
The Auxiliary cameraman/woman functions as either a second or third photographer under the
direction of the DP—B Camera or C camera-- or has the responsibility to capture footage of the
production process for a ‘making of’ film or other such purpose.
Duties:
 Reservation of camera equipment from cage
 Responsibility for camera equipment check-out, safe-keeping, and check-in.
 Execution of shots as per DP
 Documentation of production process
 Responsibility for memory cards or tape stock.
 Assist in camera movement with dollys and tracks, steadicam, jib arms.
 Maintain camera report sheets.
 Download memory cards
 Slate shots with clapboard.
 Creation of shot lists
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Camera Department Duties & Checklist (continued 3)
EQUIPMENT CHECKLIST
Camera
Tripod
Monitor
Tapes
Batteries
Rain cover
Camera report sheets
Pens
(for writing)
Boom pole
XLR (s)
Headphones
 audio report sheets
_________________
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Production (STILL) Camera Dept Duties & Checklist
The Production Cameraman/Woman is responsible for capturing still photographs of production,
as well as of cast and crew.
Duties:
 Procurement of camera, tripod, batteries, memory card and charger
 Still photography of pre-production, production and post production
 Photography for promotional and publicity pieces for production
 Downloading and saving of still photographs
 Photoshop of photographs for production
 Charging of batteries for camera
EQUIPMENT CHECKLIST
Camera
Tripod
Batteries
Memory card
Charger
_________________
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Gaffer/Electric Dept Duties & Checklist
The Gaffer is the head lighting technician, responsible for carrying out the lighting plans of the DP.
Gaffers are in charge of all the electrical work on a production, leading the team of technicians who
install the lighting equipment and arrange the power supply in order to create the designed lighting
effects. Gaffers work closely with the Director of Photography to visualize in a practical way the
'look' they are trying to achieve. They must be able to suggest and interpret ideas, and have a
thorough knowledge of a wide range of equipment, and of its operation. They position the
equipment, and operate the lights during filming.
The Best Boy is assistant to the Gaffer, helping to set up and break down lighting configurations,
and assume responsibility for the care and well-being of all the lighting instruments.
Duties:
Gaffer
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Responsibility for lighting equipment check-out, safe-keeping, and check-in
As per direction of DP, lighting set-up and removal of fixtures, c-stands, bounce boards.
Use of gels, flags, barn doors, diffusion to shape lighting as per DP design
Responsibility for investigation and confirmation of power availability at location
Responsibility of operation and maintenance of power generators
Best Boy
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Assist Gaffer and DP
Keep track of lighting elements during production and properly re-pack them at end of shoot
day
EQUIPMENT CHECKLIST
Lighting kits
Bulbs
Flag kit
Gels
C-Stands
 Gaffer hardware (clamps, etc)
Bounce boards
Clothespins
Gloves
Extension cords
Surge protectors
Bags to carry cords, etc
Gaffer tape
Generator
Gas can for generators
Gas for generators
Tool kit
_________________
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Sound Department Duties & Checklist
The Audio Engineer/Mixer is responsible for audio recording and monitoring on a production.
Audio Engineer/Sound Mixers have the difficult job of ensuring that dialogue recorded during
filming is suitably clear. Although much of the storytelling and the emotional impact of a script are
conveyed through dialogue, most film sets are challenging environments for Mixers because there
are often unwanted noises to deal with, or the required camera shots hamper the placing of
microphones. Audio Engineer/Mixers plan production sound design in consultation with the
Director regarding creative decisions (is the sound naturalistic or stylized, etc). They work closely
with the Boom Operator to plan types and placement of microphones on the set. They also
monitor the sound during production, using headphones. They are responsible for maintaining
sound reports on each shot.
Boom Operators assist the Audio Engineer/Mixer and operate the boom microphone, which is
either hand-held on a long arm or dolly mounted (on a moving platform). If radio or clip
microphones are required, Boom Operators position them correctly around the set or location, or
on actors’ clothing. Boom Operators are responsible for positioning microphones so that Audio
Engineer/Mixers can capture the best quality dialogue and sound effect. Boom Operators are also
responsible for all the sound equipment, ensuring that it is in good working order, and carrying out
minor repairs where necessary.
Duties:
Audio Engineer
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Responsibility for audio equipment check-out, safe-keeping, and check-in
Design of audio recording plan, including decisions about use of particular mics,
windscreens, etc..
Monitoring of sound during recording of scenes
Maintain sound report sheets.
Boom Operator
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Keep track of audio elements during production and properly re-pack them at end of shoot
day
Aid Audio Engineer in set up and installation of microphones
Hold or operate boom mic during scenes
EQUIPMENT CHECKLIST
Shotgun mics
Lavaliere Mics
Boom poles
Windscreens
XLR cables
Batteries
Headphones
Sound reports
Sound blankets
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Grip Department Duties & Checklist
Grips' responsibility is to build and maintain all the equipment that supports cameras. This
equipment, which includes tripods, dollies, tracks, jibs, cranes, and static rigs, is constructed of
delicate yet heavy duty parts requiring a high level of experience to operate and move.
The Key Grip is responsible for all grip work and consults closely with the Director and the DP to
ensure that all positioning or movement of cameras is achievable. Grips are usually responsible for
pushing the Dolly and must create smooth movements that do not distract from the onscreen
action. On large projects with multiple cameras, the Key Grip is responsible for the main camera
(camera A), with other Grips providing additional camera support.
The Best Boy Grip is the assistant to the Key Grip.
Duties:
Key Grip
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Responsibility for grip equipment check-out, safe-keeping, and check-in
Movement and placement of tracks, dollys, jib arms, lights and lighting equipment onto the
set
Set up of tracks with wedges
Set up car mounts
Set up jib arms
Responsible for and supervises ALL EQUIPMENT PACKING INTO TRUCKS and VANS
Best Boy Grip
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Assist Key Grip
Keep track of grip elements during production and properly re-pack them at end of shoot
day
Assist in check-in of equipment
EQUIPMENT CHECKLIST
Car mount
Jib arms
Dolly
Dolly track wheels
Tracks
Track Wedges
Sandbags
Carry-all boxes
 Apple boxes
 WD 40 for dolly track wheels
 Toolkit
_________________
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Production Design Department Duties & Checklist
Production Designers are responsible for the entire Art Department, including set design,
costumes, props and makeup. They supervise the Costume Designer, Property Master, and
Makeup Artist. They play a crucial role in helping the Director to achieve the film's visual
requirements and the Director’s vision, scene-by-scene, within the budget allotted. After preparing
a careful breakdown of the script, they meet with the Director to discuss how best to shoot the film- whether to use sets and /or locations; what should be built and what should be adapted; whether
there is a visual theme that recurs throughout the film; whether there are certain design elements
that may give an emotional or psychological depth to the film. They sign off on all wardrobe, prob
and make-up decisions. The Assistant Art Director assists the Art Director.
Duties:
Production Designer
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Design of visual look for the entire production
Responsibility for art design budget
Creation of set sketches, design concept art
Design of sets, location décor
Supervision of Art Department, including Costume Designer, Prop Master, Makeup Artist;
Consultation, direction and approval of wardrobe, props, and makeup
Acquisition of materials needed for design—paint, decorative materials, etc
Construction of sets
EQUIPMENT CHECKLIST
Paint
Wood materials
Plastic
 Tools
 Glue, nails, hanger elements (wire, etc)
_________________
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Costume Designer
Duties:
 In consultation with Director and Production Designer, the Costume Designer chooses and
designs clothing sets for actors and scenes
 Obtains measurements of actors
 Acquisition of clothing from stores, thrift stores, rental houses
 Preparation of wardrobe for each day’s shoot
 Maintenance and cleaning of wardrobe during and at end of shoot
 Storage of wardrobe or return to lenders at end of shoot
EQUIPMENT CHECKLIST
costumes for all actors
 Wigs
Sewing kit
Cleaning fluids, Febreze,
 Iron and clothes steamer
 wardrobe racks and boxes
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Production Design Department Duties & Checklist
(cont)
The Property Master and Assistant controls all aspects of film props. They oversee, and
are responsible for, the procurement or production, inventory, care and maintenance of all props
associated with productions, ensuring that they are available on time, and within budgetary
requirements. They also ensure that selected props suit the film's style and overall design, and that
they accurately reflect the production's time period and culture.
Duties:
 In consultation with the Director and Production Designer, the Property Master designs or
purchases, or manufactures props that are necessary for a scene in the shoot.
 Research of materials
 Purchase or rental of prop items for shoot
 Preparation of props for each day’s shoot
 Maintenance and cleaning of props during and at end of shoot
 Storage of props or return to lenders at end of shoot
EQUIPMENT LIST
Weapons
Furniture
 Vehicles
Room decor
The Make-Up Artist and Assistant are responsible for providing make-up and hair
preparatin to cast during the shoot. Make-up and Hair are key elements in the overall design of
films or television productions, creating a look for the characters in relation to social class, and time
periods, and any other elements required to create the desired illusion. Makeup artists usually
provide their own makeup and hair accessories.
Duties:
 In consultation with Director and Production Designer, the Make-Up Artist designs a ‘look’
for each actor and scene
 Acquires make-up and accessories
 Prepares make-up and hair styling for actors before scenes
 Helps actors clean make-up at end of shoot
MakeUp and Hairdressing Department check list:
Makeup kit
Mirror
Cleanser
Towels
Water
Hairspray, hair gel
 Wigs
 Hairpieces
Combs, brushes, bobby pins, hair nets
Brushes
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Shaver, shaving cream
Special Effects Department Duties & Checklist
The FX Designer/Engineer is responsible for creating and operating special effects for the film
shoot. The FX Assistant assists the FX Designer.
Duties:
 Design of effects for scenes
 Acquisition of materials
 Testing of effects for safety and success
 Implementation of effects during shoot
 Clean up after completion of effects
EQUIPMENT CHECKLIST
Blood
Explosive devices
Prosthetic devices
_________________
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_________________
_________________
_________________
_________________
_________________
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Craft Services Department Duties & Checklist
The Craft Services Department is responsible for providing buffet meals, snacks and drinks to cast
and crew.
Duties:
 Planning of meals and snacks for production
 Acquisition of food and drink for breakfast, lunch, dinner and snacks
 Set up of tables, chairs, plates, eating utensils and food in an attractive and comfortable
location that is not disruptive of shoot
 Clean up of food and trash
EQUIPMENT CHECKLIST
Tables
Chairs
Knives, forks, spoons
Plates
Cups
 Trashbags and waste cans
Napkins
Water
Juice
Soda
Snacks (candy, cookies, chips, fruit)
Breakfast meal
Lunch meal
Dinner meal
_________________
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Location/Set Department Duties & Checklist
The Location Manager and Assistant is responsible for preparation, set-up and strike of the
location.
Duties:
 Scouting of location for requirements of shoot—power, bathrooms, suitable spots for tents
etc.
 Set up of location base camps—tents, chairs, tables, first aid station etc.
 Charge equipment—batteries, etc
 Distribute and keep track of walkie talkies
 Keep watch over equipment
 Pack up equipment at end of shoot day
 Assist in check-in of equipment
EQUIPMENT CHECKLIST
Walkie Talkies
Tents
Chairs
Tables
Power converter for ac (for car)
Umbrellas
Knife
Towels
First aid kit
Permits
 Tool Kit
_________________
_________________
_________________
_________________
_________________
16
Transportation Department Duties & Checklist
The Transporation Captain and Assistant is responsible for all crew and production vehicles and
transportation.
Duties:
 Plan transportation needs for shoot
 Secure vehicles for crew, actors, equipment and for vehicles needed in a scene
 Transport crew to location
 Pick-up and drop off cast members at train or drive home
 Transport cast to location
 Responsible for store runs
 Responsible for bathroom runs
 Transport crew, cast and equipment back home
 Pay tolls, parking fees (collect receipts)
EQUIPMENT CHECKLIST
Cars
Trucks
Bicycles
Motorcycles
_________________
_________________
_________________
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POST PRODUCTION POSITIONS AND DUTIES
Colorist , Editor, Sound Designers,Foley Artists
ADR Dialogue Editor, Re-Recording Mixers
Colorists review all the footage of a film and determines, in consultation with the director,
the appropriate color and look of each scene. They provide advice and creative input into
the overall look of each production, and work closely with directors in order to accurately
interpret their ideas. They must ensure that all shots within each scene match one another,
by balancing color saturation and luminance from shot to shot, so that no one shot stands
out in the sequence. They should be able to distinguish and correct color differences within
scenes, and ensure consistency throughout the production. They must also offer original
and creative solutions to any picture related problems, e.g., under or over exposure, day for
night corrections, etc. Colorists should understand the psychological effect of colors, in
order to enhance the narrative of each production.
The Editor works closely with the Director—before, during, and after the shoot-- reviewing
the script and all the footage of a film and attempting to weave it together in a way that
ensures that the story flows effortlessly from beginning to end. The Editor carefully
chooses each shot and edits them into a series of scenes, which are in turn assembled to
create the finished film. During the post production period, the Editor and the Director work
closely together, refining the rough cut assembly edit into the Director's Cut, which must be
approved by the Producers, until they achieve picture lock or Fine Cut (when the Director
and/or Executive Producer give final approval of the picture edit). Editors usually work in a
supervisory role during the subsequent music and track laying, and sound mix. Sound Designers are responsible for providing any required sounds to accompany screen action.
Sound Designers design the entire sound post production process, creating the sound concept for
a film or project, as well as creating the sounds for giant explosions or car crashes. Sound design
is also the art of creating subtle sounds that enrich the language and feeling of a film.
Music Editors help Directors to achieve their musical ambitions on films, and provide a
crucial link between the film and the Composer. They structure the soundtrack, ensuring
that all the components work together. They are usually responsible for all the music
featured on film soundtracks, including: performed music (e.g., a band or singer who
performs within the narrative of the film), all sourced music (e.g., bought-in pop, jazz,
classical music), and the score, written by the composer specifically for the film. Music
Editors usually start work well into the picture editing process, developing the Temp
(temporary) Score, which is made up of music lifted from other film soundtracks or sourced
music, and helps the Editor to achieve the right pace and emotional tempo; it may also
provide a broad template for the Composer, and help the Director to identify the desired
feel of the soundtrack.
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POST PRODUCTION POSITIONS AND DUTIES
(continued)
Foley Artists are responsible for the post-synchronised sound effects on a film sound track that
are added during the sound editing process, excluding any special sounds which are usually
created by the Sound Effects Editor or Sound Designer. “Foley” is normally defined as sounds
related to movements, whether pertaining to a character or an object (footsteps, fights, fist banging
on a door), or to the result of an object’s movement (pouring wine, shards of glass falling from a
broken window). Named after Jack Foley (an innovative pioneer of the art at Universal Studios),
Foley is recorded in specialised sound studios working to projected pictures.
ADR (Automated Dialogue Replacement)/Dialogue Editors ensure that all the required dialogue
on film soundtracks is accurately placed, and of the best possible quality. ADR/Dialogue Editors
review the original sound files to check whether problematic dialogue sound can be replaced with
an alternative take. Working on a Digital Audio Workstation using Pro Tools software,
ADR/Dialogue Editors cut between a number of takes (sometimes even using different syllables
from each take) to create clean, crisp lines of dialogue. If this is not possible, Automated Dialogue
Replacement is used.
During ADR sessions actors watch themselves on screen, and re-voice as accurately as possible,
ensuring not only that their lines are synchronised with the pictures (lip-sync), but that the nuances
of their performance match the original. Actors may also be called upon to record new lines for offcamera dialogue in order to help make difficult scenes work. During ADR sessions, ADR/Dialogue
Editors make quick, accurate decisions about whether the performance is good enough, asking the
actor to attempt another take if necessary.
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