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Home , Assistant director, Best Boy, Boom operator (media), Camera operator, Clapper loader, Costume designer

WHO’S WHO ON A CREW

4.8 Who’s Who On A ScreenwestScreen West 1 FILM FRIENDLY / SCREENWEST

INTRODUCTION The key relationship for filming is between the screen production’s and the local council’s Film Liaison Officer, and these two people should negotiate and confirm the details of filming in a council area. However, many departments in the screen production will have specific requests before and during location filming, and it’s useful to understand why the requests are being made, and what the responsibilities of key production personnel are. The location manager however remains the key channel of communication.

All crew and cast have a duty of care in respect of occupational health and safety issues, and public safety issues.

4.8 Who’s Who On A Film Crew Screenwest 2 FILM FRIENDLY / SCREENWEST

SECTION 4.8 WHO’S WHO ON A FILM CREW

THE PRODUCER timing. The director has a key role in AD will re-schedule the production The Producer is the key person in choosing the and production to provide another opportunity to charge of the entire production. design and duties also include achieve the affected scenes. He or she will have selected the script editing, selection, shot Other duties include tracking the script, raised the finance, appointed composition, and editing. On some progress of filming versus the cast and key personnel and have large productions, a director will , observing oversight of both creative and delegate less important scenes to a all labour rules and location administrative aspects of the Director. agreements and maintaining production. In many cases, several safety on the working set. producers work on different areas THE 1ST of the same film. Most important THE 2ND for location filming, the producer The 1st Assistant Director is the ASSISTANT DIRECTOR has responsibility for ensuring that producer’s representative on set, The 2nd Assistant Director is the all the relevant and ensuring the film gets shot on time ’s representative Occupational Health and Safety and within budget whilst at the on set, and the chief assistant (OHS) measures are in place. same time working to ensure the of the 1st AD, coordinating the vision of the director. The 1st AD is running of ‘back ’ ensuring a THE DIRECTOR responsible for the scheduling of the smooth flow of cast are effectively The Director is usually the driving film and organises each shooting day managed through makeup, , artistic source behind the filming to make the best and most efficient rehearsals and publicity in order process and is the principal creative use of a location into what is known to appear on set on time. The 2nd artist on a film set, responsible for as the call sheet, and may have AD is responsible for information visualising the (or script) requests, for example, about time of distribution and reporting, cast while guiding the technical crew day to shoot sequences and traffic or notification and preparations during and actors in the fulfillment of that pedestrian control. They oversee the the shooting process, recording of vision. They oversee the artistic and day-to-day management of the cast all data relative to the working hours dramatic aspects of a production, and crew scheduling, equipment, of the crew and cast, preparation of including controlling the content and script, and run the set. A 1st AD may call sheets, production reports, and flow of the film’s plot, directing the also be responsible for directing other documentation. The 2nd AD performances of actors, selection of background action for major shots or is responsible for creating call locations and managing technical the entirety of relatively minor shots, sheets that let the crew know the details, such as the positioning of at the director’s discretion. If weather schedule and important details cameras, the use of lighting and the or other factors delay filming, the 1st about the next shooting day.

4.8 Who’s Who On A Film Crew Screenwest 3 FILM FRIENDLY / SCREENWEST

THE 3RD makes sure all departments are ASSISTANT DIRECTOR doing their respective jobs within the The 3rd Assistant Director supports parameters of the budget. It is the the 1st AD on set and works with the production manager’s responsibility 2nd AD behind the scenes. They may to make sure the filming stays on also direct background action and schedule and within its day-to-day extras at the request of the 1st AD. budget. They directly supervise the . The production manager often works THE under the supervision of a Line The Script Supervisor (or Continuity) Producer and it is not unusual for oversees the continuity of the a production to have both or production including costume, just one of these roles. props, set dressing, hair, make- up and the actions of the actors during a scene. Basically, the script THE PRODUCTION supervisor is the editor’s and ’s COORDINATOR representative on set, as well as being The Production Coordinator is the the right-hand aide to the director information nexus of the production, and director of . They responsible for organising all the back up every department, monitor logistics. They will issue the daily call the script during shooting and make sheet. sure that errors in continuity do not occur that would prevent the film THE PRODUCTION from being able to be cut together SECRETARY smoothly in the editing room. The Production Secretary is responsible for the dissemination of THE all film production documents to the The Line Producer is the liaison right people – shooting schedules, between the producer and the script amendments, call sheets etc. production manager, responsible for managing the production budget THE PRODUCTION and overseeing all the business ACCOUNTANT aspects of the physical production The Production Accountant manages of . Line Producers oversee the money and works with the Line all other pre-production activities, Producer and Production Manager including hiring the production to ensure the production comes in team, setting up the production on budget and everyone gets paid. office, , ensuring Production accountants are often compliance with regulations assisted by Assistant Accountants and codes of practice, sourcing responsible for accounts equipment and suppliers, selecting receivable, accounts payable key crew, engaging supporting and on larger productions a artistes and contributors, and specialist Payroll Accountant. monitoring the progress of the and other production departments. During production, THE CASTING DIRECTOR Line Producers delegate the day- The Casting Director is responsible to-day operation of the production for hiring the actors and, in some office to the Production Manager cases, extras for the film. and Production Coordinator. THE UNIT PUBLICIST THE PRODUCTION The Unit Publicist works on location MANAGER during the production of a movie. The Production Manager supervises Duties includes setting up press visits the physical day-to-day operation and electronic press kit interviews. In of the production (not the creative addition, the unit publicist assembles aspects), including crew and the biographical materials and notes equipment, approves schedules about the making of the movie that and call sheets, approves purchase are later turned into the movie press orders & time cards, and generally kit or BTS (Behind The Scenes).

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Unit publicists are itinerant -- they Hair, Makeup and Wardrobe, Green THE DIRECTOR OF move from production to production Rooms as well as the toilets. They PHOTOGRAPHY and are on the production payroll. are also responsible for ensuring that The Director of Photography They report to the filmmakers and, if the location owners and residents (DOP) is the head of the Camera the film has a releasing , they are not overly inconvenienced by the Department, responsible for the also report to the publicity directors. film shoot. At the end of each day’s recording of a scene in the manner Once is filming, they clear away all rubbish desired by the director. The DOP over, the unit publicist moves on to and ensure that locations are left in creates the visual representation of another job. good order. They arrive at the unit script: camera, , lenses, base before the rest of the crew on designing and selecting the lighting, the first day of filming, to liaise with THE LOCATION MANAGER directing the ’s placement security staff (who may have been The Location Manager is initially of lighting; shot composition (in guarding the vehicles throughout the responsible for finding and securing consultation with the director), film night) and to organise the marking locations that fit the creative, grading. On location, the DOP out of parking areas using traffic budgetary and scheduling needs may, for example, wish to shoot at cones. If the location manager or of the production, and arranges a particular time of day or from a assistant is not on site on the filming technical scouts for the essential particular side of the road so that day, then the unit manager is the staff (grips, electric, camera, etc.) the actors and the setting are shown main contact for location issues. to see options which has been in the most appropriate light. With selected for filming. He or she night shoots, the DOP will have acts as the representative of the THE CATERER requests and requirements about the and negotiates The Caterer provides full breakfast, size and positions of the lights. with property owners, council and lunch and afternoon tea for the cast relevant authorities on location and crew. THE CAMERA details, approvals and, if necessary, The uses the price, and then manage the locations THE SAFETY SUPERVISOR camera at the direction of the during the shoot. The Safety Supervisor works with director of photography, or the , to capture the scenes on This may include gaining permits the producer to oversee the safety film or video. Generally, a director of for road closures, traffic control and of the cast and crew and any photography does not operate the parking. Often this liaison will come other individual who may come camera, but sometimes these jobs via the production office. in contact with the film crew or filming activities. They establish a may be combined. Production Safety Report and/or plan THE LOCATION ASSISTANT & implement the recommendations THE FIRST The Location Assistant is on-set to ensure that work is done in ASSISTANT CAMERA before, during, and after the compliance with the workplace The First Assistant Camera, 1st AC filming process each day. General health and safety standards and or , is responsible for responsibilities include arriving regulations and for the welfare of the keeping the camera in focus as it first at the location to allow the Set cast and crew to minimise accidents is shooting, as well as building the Dressers into the set for preparation; to save people, properties, cost and camera at the beginning of the day maintaining the cleanliness of the the environment. and taking it apart at the end. location areas during filming; fielding complaints from neighbours; and ultimately, at the end of the filming THE UNIT NURSE THE SECOND day, making sure it seems as though The Unit Nurse (or Set Medic) ASSISTANT CAMERA the film crew was never there. provides for the medical needs The Second Assistant Camera, 2nd and emergency medical logistics of AC or , operates the entire cast and crew and is the THE UNIT MANAGER the clapperboard (Slate) at the safety liaison between production/ beginning of each take. The 2nd AC The Unit Manager supports construction and various agencies. is also in charge of overseeing the the Location Department and This person may be an emergency record note taking. Additionally, the is responsible for parking and medical technician, paramedic, 2nd AC oversees organisation of positioning most of the location’s nurse, or physician. camera equipment and transport of vehicles, ranging from crew cars the equipment from one shooting to facilities trucks, & are also location to another. responsible for organising the THE COORDINATOR collection and disposal of waste The is an materials, e.g., water and/or experienced who rubbish from the location. They arranges the casting of stunt are responsible for the smooth players and and running of the Unit Base including the performance of all , the Facilities trucks, vehicles for working closely with the director and the 1st AD.

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A OPERATOR and is responsible for moving doorknobs and wall sockets. The A Steadicam Operator is someone and preparing sound equipment Props Master oversees finding and who is skilled at operating a for use around the set as well as managing all the props that appear Steadicam, a camera stabilisation rig. giving wireless audio feeds to the in the film. Other positions within director, script supervisor and laying in this department include: special sound dampening materials in effects supervisor, draftsperson, THE DIGITAL IMAGING locations with problematic floors or lead man, , greens TECHNICIAN a troublesome acoustic. They are person, Standby Props is on set The Digital Imaging Technician, regularly called upon to operate a at all times during the filming of a DIT or Data Wrangler is responsible second boom in scenes with a larger scene. They are responsible for the for the coordination of the internal number of actors or where actors care and continuity supervision of workings of the digital camera. are physically spaced too far apart the various props in a scene. Under the direction of the director for the to cover all of photography, the DIT will make the dialogue with one . THE ARMORER adjustments to the multitude They also aid in the radio mic’ing of The Armorer is responsible for of variables available in most cast when there are a large number weapons on set. Duties include professional digital cameras to of actors in a scene. The role is providing the correct weapons to creatively or technically manipulate sometimes informally known suit the era and style of the film, the resulting image. It may also as a Cable Wrangler. be the responsibility of the DIT to advising the director on use of archive and manage the digital data, weapons, choosing the correct create compressed from THE PRODUCTION blanks, creating a safe set for the raw and prepare all digital DESIGNER use of said weapons, teaching actors images for post-production. The is the about handling and using weapons, head of the Art Department, making sure use of all weapons is and responsible for planning and properly licensed, and ensuring THE SOUND RECORDIST overseeing the creation of the the safety of everyone on the set The Sound Recordist is the head sets, scenery, and other items that while weapons are in use. of the Sound Department on appear in front of the camera. The location and is responsible for the and Construction THE GAFFER operation of the audio Mixer and Manager report to the production The Gaffer is the head electrician Recorder(s) which receive feeds from designer and may also have requests of the , the on set. It is their and responsibilities when filming Electrics Department responsible for managing lighting, responsibility to decide how they is taking place on location. For including associated resources will deploy their team to capture the example, they may wish to remove such as labour, lighting instruments sound for each shot, select which modern street lighting for a period and electrical equipment under microphones will be used for each film or change street signage to the direction of the Director of setup, mix audio from all of the indicate a different country. The Photography, and for the power microphones in real time into a “mix Art Director more directly oversees source, whether this is the generator track” that will be used while viewing artists and craftspeople, such as the or on-site power. They also take rushes and during the edit, and Set Designers, Graphic Artists, and responsibility for the safety of sometimes in the final film, and to Illustrators who give form to the electric power and lighting both for maintain logs of audio related production design as it develops. issues for post-production. the film’s employees and for the general public. THE SET DESIGNER THE BOOM OPERATOR The Set Designer realises the THE ELECTRICS The Boom Operator is responsible structures or interior spaces called The Best Boy Electrics is the for utilising microphones on the for by the Production Designer and Gaffer’s 1st Assistant. end of boom poles held above carry out the instructions of the Art ’s heads during a scene to Director. Their work often involves capture dialogue. It is also their measuring locations & collecting THE KEY responsibility to relay information information for the Production The is the head of the from the “floor” back to the sound Designer. The Grips Department. They work recordist regarding upcoming shots, oversees the decorating of a film set, closely with the camera department, or potential troublesome noises, which includes the furnishings and all responsible for all equipment that and for mounting radio the other objects that will be seen in supports the camera, from a simple microphones on actors. the film.The Buyer locates, and then tripod or in an unusual position, such purchases or rents the set dressing. as the top of a ladder, to cameras THE SOUND ASSISTANT The Set Dressers apply and remove mounted to a dolly, crane, tracking The Sound Assistant is the the “dressing”, i.e., furniture, vehicles, boats and aircraft. assistant to the boom operator drapery, carpets—everything one would find in a location, even

4.8 Who’s Who On A Film Crew Screenwest 6 FILM FRIENDLY / SCREENWEST

THE BEST BOY GRIP THE STANDBY ASSISTANT THE The Best Boy Grip is the Key The Standby Assistant helps set up SUPERVISOR Grip’s 1st Assistant. the costume truck (the mobile work The Visual Effects Supervisor base for the Costume Department), oversees the VFX crew, working organises items needed for cast with production and the director A comfort, arranges the to achieve the desired in-camera A Dolly Grip operates the camera into the actors’ trailers at the start optical effects of the film. dollies and camera cranes. They of each day and for each costume place, level, and move the dolly change during the day, and prepares track, then push and pull the dolly, THE VISUAL EFFECTS what is required for upcoming days. and usually a camera operator and (VFX) CREW They have the responsibility to track camera assistant as riders. The Visual Effects (VFX) crew work and maintain the costumes for the on-set to prepare shots and plates duration of the shoot. They assist the for future visual effects. This may THE Standby Costume when needed on include adding tracking markers and The Costume Designer the head set and liaise with the Supervisor re requesting reference plates, and if of the and supplies and consumables. Costume Department necessary, help the team with the is an integral part of a production’s understanding of VFX limitations or creative team. In pre-production, THE KEY MAKE-UP ARTIST how to simplify certain shots that will they work closely with the Director, The Key Make-Up artist is the affect future post production. the Production Designer and the head of the Hair and Makeup Producers to develop a look for the Department and answers directly characters that best serves the story. 2ND UNIT to the director and production When shooting starts, the Costume 2nd Unit is a small, secondary crew designer. They are responsible for Designer works to maintain the responsible for filming shots such planning make-up designs for all visual unity of the production while as inserts, crowds, scenery, vehicle leading and supporting cast. establishing new costumes and drive-bys etc. The 2nd Unit if often designing looks for new characters. sent to shoot specialist action shots A MAKE-UP ARTIST such as underwater or marine A Make-Up Artist is the person who work, where a large main THE COSTUME SUPERVISOR applies make-up to individual actors. unit crew is not needed. The Costume Supervisor is Depending on how many actors responsible for the day-to-day there are, Make-Up Assistants running of the department. They could be needed. analyse the and production schedules to prepare a realistic Costume budget, A SPECIAL EFFECTS manufacturing and purchasing MAKE-UP ARTIST schedules and crewing requirements. A Special Effects Make-Up Artist They handle all the financial records specialises in making people look for the Costume Department and like something they aren’t – are responsible for maintaining the monster, adding wounds, bruises or costume budget. They coordinate all facial hair or prosthetics. labour efforts for pre-production and the actual shoot. A HAIR STYLIST A Hair Stylist is involved in fixing STANDBY COSTUME and setting the hair on all the actors Standby Costume takes care of the every day. On some productions, actors on set. He/she is responsible the hair styling is performed by the for continuity (making sure the Make-Up Artist or Assistant. correct outfit is worn at the correct time in the proper manner). Shows STANDBY MAKE-UP are rarely, if ever, filmed in order. Standby Make-Up is on set at all A standby watches during filming times during the filming of a scene and makes adjustments as needed, and is responsible for the care and paying attention to things like: How continuity supervision of make-up many buttons are buttoned, are the and hair. They touch up make-up sleeves of the shirt supposed to be between takes and ensuring rolled, is the shirt supposed to be that continuity notes are tucked in or hanging out? maintained using photographs.

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FILM CREW BEHIND-THE-SCENES YOU MAY NOT HAVE DIRECT CONTACT WITH BUT THE FILM CAN’T BE COMPLETED WITHOUT THEM!

POST-PRODUCTION THE GRADER . They may also paint SUPERVISORS The Grader is responsible for a visual information into or out of a Post-production Supervisors are ‘grade’ –a look that has been created scene, such as removing wires responsible for the post-production with a grading system, which adjusts and rigs, logos, dust busting, process, during which they maintain brightness, contrast and colour. or scratch removal. clarity of information and good A is when two or more image channels of communication between THE VISUAL EFFECTS elements are combined into the producer, line producer, EDITOR a single, final image. editor, supervising sound editor, The Visual Effects Editor incorporates the facilities companies and the visual effects into the current cuts Matte Painters draw/paint production accountant. Although of live action sequences, producing entire sets or extend portions this is not a creative role, it is multiple versions of each shot which of an existing set. pivotal in ensuring that the then evaluated by the visual effects film’s post-production budget is supervisor and creative director for manageable and achievable, and THE SOUND DESIGNER aesthetic and technical direction, that all deadlines are met. The Sound Designer, or Supervising and by the producers for Sound Editor, oversees the review and final editing. post-production sound of a film. THE FILM EDITOR Sometimes this may involve great The Film Editor is the person who A COMPOSITOR creative license, and other times it assembles the various shots into a A Compositor is a visual effects may simply mean working with the coherent film, under the supervision artist responsible for combining director and editor to balance the of the director. There are usually images from different sources such sound to their liking. several Assistant Editors. as video, film, computer generated 3-D imagery, 2-D animations, matte THE THE COLOURIST paintings, photographs, and text. The dialogue editor is responsible The Colourist uses digital tools for assembling and editing all the to manipulate the edited film ROTOSCOPE & dialog in the . image and has a degree of PAINTERS ARTISTS creative freedom in changing Rotoscope & Painters Artists the aesthetic of a film. THE SOUND EDITOR trace over footage, frame by The Sound Editor is responsible for frame to produce realistic action, assembling and editing all the sound manually creating mattes for use in effects in the soundtrack.

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THE RE-RECORDING MIXER The Re-recording Mixer balances all of the sounds prepared by the dialogue, music and effects editors, and finalises the film’s audio track.

THE The Music Supervisor works with the composer, mixers and editors to create and integrate the film’s music.

THE COMPOSER The Composer is responsible for writing the musical score for a film.

THE ARTIST The Foley Artist is the person who creates the post- effects for a film. These sound effects are recorded in sync to picture and are mostly body movements, footsteps or object manipulations. The most common reason for recording these effects live to picture is the fact that such sounds are lost when the dialogue is removed to be replaced by a foreign language version. Unsatisfactorily recorded sync sound effects can also be replaced with Foley effects.

A SCORE RECORDER A Score Recorder is someone who records the and a score’s mixer is someone who mixes the film score.

A MUSIC EDITOR A Music Editor is someone who edits the film score and works with the composer to make sure it goes with the film.

For further descriptions of crew roles please see the glossary on www.imdb.com

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