499:, and other details to ensure continuity between shots and scenes. An important part of a script supervisor's job is to make sure that the actors' movements, the directions they are looking in a shot, particularly when speaking to or responding to another actor, plus the positions of props they are using and every thing else matches from shot to shot. If there is an apparent mismatch, the director must be informed immediately so that it can be reshot before the lighting setup is changed or at least before the location is wrapped and the set is struck. Not only does the job of script supervisor require a great deal of awareness and meticulous note-taking skills, it also requires much diplomacy to advise the director that they may have a problem editing something just recorded. The script supervisor is also in charge of providing the "official" scene numbers and take numbers to the second camera assistant (clapper loader in some countries) for the slate, as well as to the sound mixer, and to clearly note which take the director has chosen to be used (as a "print", in film terms) in the finished product. All of this information is then relayed to the editor every day after shooting has wrapped in the form of copies made of both the script supervisor's notes as well as their matching script pages.
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structure of the final edited film. In some cases, the editor may help restructure the story of a film differently from the original script to focus a story point, or increase an emotional response from the audience. They are also involved with providing feedback on the sound mix, visual effects, and music with the director. They can also collaborate with the colorist and director of photography to adjust framing for mood or eye trace. There are usually several assistant editors who creatively support the editor as well as manage footage and data for the entire post production team.
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the director, script supervisor and producers, and laying carpet and other sound dampening materials in locations with problematic floors or a troublesome acoustic. In addition, the 2nd AS is regularly called upon to operate a second boom in scenes with a larger number of actors or where actors are physically spaced too far apart for the 1st AS to cover all of the dialogue with one microphone. The 2nd AS also regularly aids in the radio mic'ing of cast when there are a large number of actors in a scene. The term "sound utility technician" is now considered an outdated term by
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film director. Some directors started as screenwriters, cinematographers, film editors, or actors. Other directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.
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art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the greens may be an identifiable sub-department, with its own team – often of a size numbering double figures – and hierarchy (e.g., greensmaster, greens supervisor, foreperson, leading hand, laborers). Specialists from other areas of the art dept. (e.g., fabricators, sculptors, painters, scenics) may also be drafted to work exclusively on greens.
1590:, the nature of the medium meant that everything was literally flattened into the drawn lines and solid colors that became the characters, making nearly all live-action positions irrelevant. Because animation has traditionally been so labor-intensive and thus expensive, animation films normally have a separate story department in which storyboard artists painstakingly develop scenes to make sure they make sense before they are actually animated.
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sound for each shot, select which microphones will be used for each setup, mix audio from all of the microphones in real time into a "mix track" that will be used while viewing rushes and during the edit, and sometimes in the final film, and to maintain logs of audio related issues for post production. The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound.
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designer will consult with a special effects makeup team to create all prosthetics and SFX makeup in a production. It is common that the makeup designer performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles. The designer will normally execute especially complicated or important makeup processes that are to be featured on camera.
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feature films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit. So the two credits have become effectively interchangeable, with no precise definition.
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duties can include keeping a record of makeup continuity, handing the scheduling of makeup teams and providing for the general needs of the makeup department. They are expected to be a connection between the makeup department and the rest of the production departments, making sure that makeup supplies, production assistants or electricians are on hand when needed.
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the production accountant. Although this is not a creative role, it is pivotal in ensuring that the film's post-production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film's budget is spent during production, the post-production period can often be difficult and challenging.
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to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this role is taken on by the digital imaging technician.
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decisions strongly similar to those of their live-action counterparts, but implement them in a virtual space that exists only in software rather than on a physical set. There have been major breakthroughs in the simulation of hair since 2005, meaning that hairstylists have been called in since then to consult on a few animation projects.
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after the shooting crew arrives, but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as
Ireland or the United Kingdom, the set dressing department is referred to as dressing props department. Informally, in the US, the department is often referred to simply as "set dec".
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operation, whereas the location manager continues pre-production from elsewhere (generally an office) on the upcoming locations. (On most location-based television shows, there will be two assistant location managers that alternate episodes, allowing one to prep an upcoming episode while the other is on set with the current one)
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artist to oversee the aesthetic and textural details of sets as they are realized. Typically, the art director oversees the budget and schedule of the overall art department. On large-budget productions with numerous sets and several art directors, one might be credited as supervising art director or senior art director.
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film crews have many of the same roles and departments as live-action films (including directing, production, editing, camera, sound, etc.), but nearly all on-set departments (lighting, electrical, grip, sets, props, costume, hair, makeup, special effects, and stunts) were traditionally replaced with
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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. Foley artists are also known as foley walkers. Foley is named after its first known practitioner, an early
Hollywood sound editor named
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Visual effects commonly refers to post-production alterations of the film's images. The on set VFX crew works to prepare shots and plates for future visual effects. This may include adding tracking markers, taking and asking for reference plates and helping the director understand the limitations and
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that is a "realistic imitation firearm" should have a weapons master. The weapons master, sometimes credited as the armorer, weapons specialist, weapons handler, weapons wrangler, or weapons coordinator, is a film-crew specialist who works with the propmaster, director, actors, stunt coordinator, and
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The graphic artist is responsible for the design and creation of all graphic elements, including: signs, billboards, posters, logos, nameplates, and automotive-wrapping — that are created specifically for the film. They will often create several versions of a design, the preferred of which then being
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In the organizational system used in
Ireland or the United Kingdom, the standby art director monitors the art department's work on set during filming on behalf of the production designer. They work closely with the standby painters and standby carpenters, and co-ordinate any changes to the set during
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The art director reports to the production designer, and more directly oversees artists and craftspeople, such as the set designers, graphic artists, and illustrators who give form to the production design as it develops. The art director works closely with the construction coordinator and key scenic
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The film loader transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport
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Sometimes other assistant directors are needed such as in
Canadian and British functional structures the 3rd assistant director (3rd AD) and even trainee assistant directors (trainee AD). In the American system there are 2nd 2nd assistant director (2nd 2nd AD). Normally in the American system 2nd 2nd
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The director gives direction to the cast and crew, and creates an overall vision through which a film eventually becomes realized or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a
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A director is the person who directs the making of a film. The director most often has the highest authority on a film set. Generally, a director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of
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The foley artist is the person who creates the post-sync sound 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
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The visual effects producer works with the visual effects supervisor to break down the script into storyboards, and advises the director as to how she or he should approach the scenes. Together they determine which sequences are to be shot as live action elements, which would work well in miniature,
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Post-production supervisors are responsible for the post-production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and
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The second assistant sound, utility sound technician, or "2nd AS", is the assistant to the boom operator and is responsible for moving and preparing sound equipment for use around the set while the boom op watches rehearsals and prepares for the next shot, as well as handling wireless audio feeds to
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The production sound mixer (or sound recordist) is the head of the sound department on location and is responsible for the operation of the audio mixer and recorder(s) which receive feeds from the microphones on set. It is their responsibility to decide how they will deploy their team to capture the
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Hired by the location manager to be on set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers into the set for preparation; maintaining the cleanliness of the location areas during filming; fielding complaints from
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Works with the location manager and the various departments in arranging technical scouts for the essential staff (grips, electric, camera, etc.) to see options which the location manager has selected for filming. The assistant location manager will be onset during the filming process to oversee the
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is generally not considered a department as such, but rather as a series of functional groups. These include the film's producers and executive producers and production office staff such as the production manager, the production coordinator, and their assistants; the various assistant directors; the
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The film editor is the creative head of the post production department and is responsible for assembling the picture into a cohesive edited story, with the help of the director. They are primarily responsible for selecting performances of the actors with the director, adjusting the tempo, pace, and
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The costume supervisor works closely with the designer. In addition to helping with the design of the costumes, they manage the wardrobe workspace. They supervise construction or sourcing of garments, hiring and firing of support staff, budget, paperwork, and department logistics. It is also called
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The greensman or greensperson is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensperson may report to the
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On digital photography productions the digital imaging technician, or DIT, is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available
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Oversees the locations department and its staff, typically reporting directly to the production manager or assistant director (or even director or executive producer). Location manager is responsible for final clearing (or guaranteeing permission to use) a location for filming and must often assist
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An executive producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process in the original definition, but has played a financial or creative role in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in
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The makeup designer is the department head that answers directly to the director and production designer. They are responsible for planning makeup designs for all leading and supporting cast. Their department includes all cosmetic makeup, body makeup and if special effects are involved, the makeup
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The set dressers apply and remove the "dressing"; i.e., furniture, drapery, carpets, wall signs, vinyl decals – everything one would find in a location, (even doorknobs and wall sockets, when such items do not fall under the purview of construction.) Most of the swing gang's work occurs before and
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The boom operator, first assistant sound or "1st AS", is responsible for using microphones on the end of boom poles (lightweight telescopic poles made of aluminium, or more commonly, carbon fibre) held above actor's heads during a scene to capture dialogue. It is also their responsibility to relay
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This position exists generally on larger budget productions. The locations PA is the assistant who is almost never on set, but instead is always prepping a location or "wrapping" a location; that is, when a location requires several days of setup and breakdown preceding and following the day(s) of
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The make-up supervisor is a supporting position that normally reports to the key makeup artist to assist in running the makeup department. Make-up supervisors typically handle production matters and generally serve the needs of senior artists. Makeup supervisors rarely do makeup themselves. Their
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The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. They are also responsible for designing, planning, and organizing the construction of the garments down to the fabric, colors, and sizes. The costume designer works closely with the
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The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the
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The visual effects editor incorporates visual effects into the current cuts of live action sequences, producing multiple versions of each shot. Altered scenes are then evaluated by the visual effects supervisor and creative director for aesthetic and technical direction, and by the producers for
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The director of photography (sometimes shortened to DP or DoP) is in charge of the look of the "frame" of the movie shots, hence the name "photography". They are the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of shots in conjunction with the
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The key scenic artist (scenic charge) is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, stained glass—anything called for by the production designer. The key
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in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its art director, set designers and draftsmen; set decoration, under the set decorator; props, under the props master/mistress; construction,
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The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a safe working environment in which the director, principal artists (actors) and crew can be focused on their work. They
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have made possible a level of rich detail never seen before. Many animated films now have specialized artists and animators who act as the virtual equivalent of lighting technicians, grips, costume designers, props masters, set decorators, set dressers, and cinematographers. They make artistic
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A film producer creates the conditions for filmmaking. The producer initiates, coordinates, supervises, and controls matters such as fund raising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to
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that appear in the film. These include any items handled by actors that are not part of the scenery or costumes, and all consumable food items that appear on screen. Job responsibilities include purchasing, renting, and manufacturing anything actors handle or touch. In period works, it is the
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scenic artist supervises the crew of painters, and is often a master craftsperson. In the UK, the above responsibilities would normally be those of the head painter, and the scenic artist is responsible for producing artist painted backings. In the US, a key scenic is called the charge scenic.
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The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations and collecting other pertinent information for the production designer. Sometimes a set designer is also the first assistant art director. In this
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The special effects supervisor instructs the special effects crew on how to design moving set elements and props that will safely break, explode, burn, collapse and implode without destroying the film set. He or she is also responsible for reproducing weather conditions and other on-camera
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The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that will be seen in the film. They work closely with the production designer and coordinate with the art director. In recognition of the set decorator's importance, the
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or blank videocassette into the camera magazines between takes, if there is no additional specifically designated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that record when the film stock is received, used, and sent to the lab for processing.
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A system administrator or sysadmin, is a person employed to maintain and operate a computer system or network. This role is increasingly important for digital monitors on set, digital intermediate editing and post production, digital effects, digital sound, and sometimes for full digital
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The construction coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the often sizeable construction crew of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the
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The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film or video. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be
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in most professional digital cameras to creatively or technically manipulate the resulting image. It may also be the responsibility of the DIT to archive and manage the digital data, create compressed dailies from raw footage and prepare all digital images for post-production.
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information from the "floor" back to the production sound mixer regarding upcoming shots, troublesome noises that the mixer will need to be made aware of if they can not be silenced, and for mounting radio microphones on actors. In France, the boom operator is called the
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Also known as the continuity person, the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props,
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propmaster's job to ensure that the props provided are accurate to the time period. The propmistress usually has several assistants. The assistant propmaster is the person running the set and in charge of working directly with the actors, director, and on-set crew.
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The production designer is responsible for creating the visual appearance of the film – settings, costumes, character makeup; all taken as a unit. The production designer works closely with the director and the director of photography to achieve the look of the
728:, they move and adjust major set pieces when something needs to be moved to get a camera into position. In addition to lifting heavy objects and setting rigging points for lights, they also report to the key grip. In the US and Canada, grips may belong to the
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The first assistant camera, 1st AC or focus puller, is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is
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The sound designer, or supervising sound editor, is in charge of the post-production sound of a movie. Sometimes this may involve great creative license, and other times it may simply mean working with the director and editor to balance the sound to their
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film's director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct lens, filter, lighting and composition to achieve the desired aesthetic effect. The DP is the senior creative crew member after the director.
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Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in the non-electrical components of lighting set-ups required for a shot, such as flags, overheads, and bounces. On the
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Entertainment lawyers negotiate contracts, clear licensing rights for any intellectual property used in the film, obtain tax credits from local governments, and take care of immigration paperwork when cast or crew cross international borders to shoot on
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VFX creative directors are very much like production designers, except they direct and supervise the creative side of the film's visual effects. The position is particularly in demand for films with massive amounts of computer generated imagery and
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The best boy electric is the chief assistant to the gaffer. They are not usually on set, but dealing with upkeep of the lighting truck, rentals, manpower, and other logistics. Sometimes the best boy electric is credited as assistant chief lighting
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oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
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A conductor is supposed to be knowledgeable of special synchronization procedures to conduct the score to an orchestra. An orchestrator is someone who furthers the composer's notes and symbols and fills out the intended notation for the film
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The costume standby is present on set at all times. It is his or her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. she or he will also assist the actors and actresses with
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director to understand and interpret "character", and counsels with the production designer to achieve an overall tone of the film. In large productions, the costume designer will usually have one or more assistant costume designers.
1568:(also known as previs, previz, pre-rendering, preview, or wireframe windows) is the visualizing of complex scenes in a film before filming. It is also a concept in still photography. It is also used to describe techniques such as
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day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the production coordinator.
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Films and TV programs in general should always have a set or unit medic on set at all times from construction, through filming and to strike but a film unit that has stunts must always have trained senior EMT(A) or
Paramedic on
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ease of certain shots that will effect the future post production. A VFX crew can also work alongside the special effects department for any on-set optical effects that need physical representation during filming (on camera).
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The music supervisor works with the composer, mixers and editors to create and integrate the film's music. In
Hollywood, a music supervisor's primary responsibility is to act as liaison between the film production and the
1114:. Some celebrity actors have favorite cutters, and larger productions may hire several and have them on set at the same time, particularly in period film projects that might have complicated or expensive extras wardrobe.
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chosen by the production designer. On certain productions, they may also be employed, under the direction of the props master, in the creation of small, printed items, such as fliers, receipts, bills of sale, etc.
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The SFX assistants carry out the instructions of the special effects supervisor, building set pieces like breakaway furniture and cities in miniature, lighting pyrotechnics, and setting up rigging equipment for
346:
The production coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film
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that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under
European Union law, the director is viewed as the author of the film.
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in the UK and 2nd AS is preferred, with sound utility technician as a role being omitted from recent versions of the rate card. The role is sometimes informally known as a "cable wrangler" or "cable boy".
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The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and
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Does much of the actual research, footwork and photography to document location possibilities. Often the location manager will do some scouting themselves, as well as the assistant location manager.
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Production accountants manage the money and ensure the production comes in on budget and everyone gets paid. The industry is notorious for unusual accounting methods which are collectively labelled
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in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating call sheets that let the crew know the schedule and important details about the shooting day.
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The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the transport coordinator.
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The assistant production manager is the assistant to the production manager (PM) and carries out various jobs for the PM. Normally only big budget
Hollywood feature films have an assistant PM.
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The negative cutter cuts and splices the negatives as directed by the film editor, and then provides the assembled negative reels to the lab for prints (positives for projection) to be made.
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neighbours; and ultimately, at the end of the filming, making sure it seems as though the film crew was never there. There are generally one to three assistants on a shoot at any given time.
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The Head of the
Plastering Department is responsible for managing fibrous plasterers, who are highly skilled plasters who can re-create any period, using mold making and casting abilities.
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Within the overall art department is a sub-department, also called the art department – which can be confusing. This consists of the people who design the sets and create the graphic art.
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Production assistants, referred to as PAs, assist in the production office or in various departments with general tasks, such as assisting the first assistant director with set operations.
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The illustrator draws or paints visual representations of the designs to communicate the ideas imagined by the production designer. Illustrators are sometimes credited as concept artists.
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A steadicam operator is someone who is skilled at operating a steadicam (trademark for a camera stabilization rig). This person is usually one of the camera operators on the production.
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The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and
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production and finance departments in maintaining budget management regarding actual location/permit fees as well as labor costs to production for the locations department at large.
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The gaffer is the head of the lighting department, responsible for the design of the lighting plan for a production. Sometimes the gaffer is credited as chief lighting technician.
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Motion picture projects have three discrete stages: development, production, and distribution. Within the production stage there are also three clearly defined sequential phases (
674:, which essentially is a 'camera robot' able to consistently repeat camera moves for special effects uses. Motion control rigs are typically rented with an experienced operator.
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is usually synonymous with director of photography, though some professionals insist this only applies when the director of photography and camera operator are the same person.
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A breakdown artist may be employed during the pre-production period to break down garments. This specialized job includes making new clothing appear dirty, faded, and worn.
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The casting director chooses the actors for the characters of the movie. This usually involves inviting potential actors to read an excerpt from the script for an audition.
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The hair stylist is responsible for maintaining and styling the hair, including wigs and extensions, of anyone appearing on screen. They assist and report to the key hair.
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script supervisor. The weapons master is specifically responsible for maintaining control of any prop weapons, including firearms, knives, swords, bows, and staff weapons.
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The cast PA assists the actors of the film. This usually involves personal and technical requests, that might be highly sensible and private or common domain or knowledge.
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Make-up artists work with makeup, hair and special effects to create the characters look for anyone appearing on screen. They assist and report to the key make-up artist.
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The visual effects supervisor is in charge of the VFX crew, working with production and the film's director to achieve the desired in-camera optical effects of the film.
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The key hair is the department head that answers directly to the director and production designer. The key hair will normally design and style the hair of lead actors.
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Also called electrics or lamp operators, lighting technicians are involved with setting up and controlling lighting equipment and temporary power distribution on set.
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for use in compositing. They may also paint visual information into or out of a scene, such as removing wires and rigs, logos, dust busting, scratch removal, etc.
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is called the dolly grip. They place, level, and move the dolly track, then push and pull the dolly, and usually a camera operator and camera assistant as riders.
394:. Production accountants are often assisted by assistant accountants, sometimes called clerks, responsible for accounts receivable, accounts payable and payroll.
298:. The title is associated with the idea that they are the person who is "on the line" on a day-to-day basis, and responsible for lining up the resources needed.
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that are used for the film. In US jurisdictions, propmakers are carpenters who build props and sets, and are often technicians skilled in wood and metalwork.
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completion of a project. There may be several producers on a film who may take a role in a number of areas, such as development, financing or production.
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Since the turn of the 21st century, several additional professionals are now routinely listed in the production credits on most major motion pictures.
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The publicist liaises between the film production and the media. They create press releases, in collaboration with the producers, and work with the
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The Set
Photographer is the person who creates film stills, still photographic images specifically intended for use in the marketing and publicity.
1096:. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.
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The re-recording mixer balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the film's audio track.
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The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
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process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.
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A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated
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Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.
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529:
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A special effects make-up artist works with live models or structures in the entertainment industry, applying make-up effects or
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On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a
1248:, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director and the 1st AD.
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process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors. With a
1148:. May be an own department that answers directly to the director and production designer or reports to the Key make-up artist.
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The best boy is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
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a single animation department made up of various types of animators (character, effects, in-betweeners, cleanup, etc.). In
1572:, either in the form of charcoal sketches or in digital technology, in the planning and conceptualization of film scenes.
181:, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.
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The buyer works with, and reports to, the set decorator. The buyer locates, and then purchases or rents the set dressing.
294:
The line producer is the liaison between the studio or producer and the production manager, responsible for managing the
1073:
The key costumer is employed on larger productions to manage the set costumers, and to handle the star's wardrobe needs.
103:
509:
75:
1825:
1806:
1783:
1515:
196:) and many film crew positions are associated with only one or two of the phases. Distinctions are also made between
122:
1740:
1642:
1550:
A music editor is someone who edits the film score and works with the composer to make sure it goes with the film.
3145:
1534:
A score's recorder is someone who records the film score and a score's mixer is someone who mixes the film score.
82:
60:
2559:
1542:
A music preparer is someone who prepares out the score for orchestra performers and who copies out the music.
2788:
865:
filming. In the North American system, this work is shared between the props master and the on-set dresser.
173:. A film crew is divided into different departments, each of which specializes in a specific aspect of the
89:
3040:
2316:
1978:
1883:
209:
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commonly referred to in the United States as a "slate" at the beginning of each take and loads the raw
56:
829:
headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.
71:
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2028:
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ADs control big crowd extras and make sure if shooting on location none of the public get into shots.
170:
2749:
2618:
2284:
1474:
The sound editor is responsible for assembling and editing all the sound effects in the soundtrack.
1363:, a look that has been created with a grading system, which adjusts brightness, contrast and color.
803:
1556:
Additional orchestration people work with the conductor and orchestrator, and edit the film score.
3150:
3101:
2886:
2584:
2269:
1998:
1849:
1291:
646:, assists the crew while learning the trade of the camera assistant, operator or cinematographer.
458:
333:
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49:
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2003:
1466:
The dialogue editor is responsible for assembling and editing all the dialog in the soundtrack.
1196:) that create optical illusions during live-action shooting. It is not to be confused with the
781:
341:
223:
929:
The leadman (or leadperson) is the foreman of the set dressing crew, often referred to as the
2891:
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2833:
2539:
2279:
2172:
2008:
1587:
1384:
1102:
A costume technician who fits or tailors costumes, usually on set. They might also be called
790:
208:, and producers) who begin their involvement during the project's development stage, and the
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for art direction is given jointly to both the production designer and the set decorator.
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filming. A location production assistant is what a set production assistant is in Canada.
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department, which adds photographic effects during filming to be altered later during
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Matte painters draw and paint entire sets or extend portions of an existing set.
872:
capacity, they manage the workflow and act as the foreman of the drawing office.
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1685:"Sound Branch 'Production Sound' Ratecard (Published January 2016) – BECTU"
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accounting staff and sometimes the locations manager and their assistants.
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Rotoscope and paint artists may rotoscope the footage, manually creating
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Some actors or actresses have personal makeup artists or hair stylists.
1022:
The propmaster or mistress is in charge of finding and managing all the
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The head carpenter is the foreman of a gang of carpenters and laborers.
930:
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621:
385:
236:
146:
239:. She started as a film editor and designed the first boom microphone.
2776:
2200:
2100:
1795:
Strike the Baby and Kill the Blonde: An Insider's Guide to Film Slang
1581:
945:
658:
452:
1192:
department oversees the mechanical effects (also called physical or
616:
The second assistant camera, 2nd AC or clapper loader, operates the
38:
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2516:
2453:
2382:
2326:
2239:
2234:
2222:
1924:
1353:
1036:
797:
749:
736:
698:
2860:
1744:
1495:, negotiating the use rights for all source music used in a film.
981:
The propmaker (prop fabricator), as the name implies, builds the
924:
165:, as the producers are the ones who own a portion of either the
464:
161:
for characters in the film. The crew is also separate from the
177:. Film crew positions have evolved over the years, spurred by
16:
Group of people involved in some phase of the making of a film
2603:
1894:
1241:
746:. They are also used to manoeuver the cameras around the set.
154:
1715:"On-set deaths from prop guns are rare – but not unheard of"
3081:
551:
1609:
1593:
However, since the turn of the 21st century, modern
730:
International Alliance of Theatrical Stage Employees
1421:
animations, matte paintings, photographs, and text.
63:. Unsourced material may be challenged and removed.
2181:Cinematographer / director of photography
558:Sherlock Holmes and the Case of the Silk Stocking
3137:
1381:and which (if any) should be computer generated.
1815:
1301:(2006), which were all Scorsese-directed films.
2619:
2530:
1850:
1773:
843:
2869:
1501:The composer is responsible for writing the
1141:Special make-up effects artist (SFX makeup)
1067:, although this term is used less and less.
2626:
2612:
2139:
1864:
1857:
1843:
1792:
2052:
1738:
1359:A telecine colorist is responsible for a
310:
231:had a successful career that spanned the
215:involved only with the production stage.
123:Learn how and when to remove this message
1263:
550:
537:filming a scene from the Hollywood film
528:
222:
153:, as the cast are understood to be the
3138:
524:
2607:
1976:
1881:
1838:
1741:"Art of Roto (compositing and paint)"
1044:
933:. They also assist the set decorator.
157:who appear in front of the camera or
149:. The crew is distinguished from the
1712:
1708:
1706:
763:The grip in charge of operating the
667:Motion control technician / Operator
283:
61:adding citations to reliable sources
32:
1560:
1118:
775:
13:
1977:
1882:
1767:
1446:
1259:
1181:
555:Production of the television film
443:
147:producing a film or motion picture
14:
3167:
1739:Silverman, Matt (June 15, 2004).
1713:Diaz, Jaclyn (October 22, 2021).
1703:
1367:
1004:Head of the Plastering Department
817:
141:is a group of people, hired by a
3119:
1818:Hollywood 101: The Film Industry
1643:Glossary of motion picture terms
1612:
1385:Visual effects creative director
37:
1665:. Socialbilitty. March 16, 2014
955:
48:needs additional citations for
2633:
1732:
1677:
1655:
26:For the 2020 viral video, see
1:
1648:
1271:, a frequent collaborator on
483:
435:Location production assistant
379:
251:
1575:
1323:
1283:and has won three times—for
398:
326:Assistant production manager
171:intellectual property rights
7:
1776:The Film Encyclopedia (5ed)
1605:
1011:
684:
670:This technician operates a
635:Camera production assistant
218:
10:
3172:
2555:Computer-generated imagery
2360:Special effects supervisor
2208:Digital imaging technician
1315:Post-production supervisor
1275:films, has received eight
1240:Where the film requires a
1213:Special effects supervisor
844:Art (sets and graphic art)
650:Digital imaging technician
503:
413:Assistant location manager
25:
19:For the comedic team, see
18:
3115:
3059:
2997:
2927:
2814:
2735:
2641:
2572:
2492:
2411:
2373:
2365:Visual effects supervisor
2350:
2260:
2171:
2074:
1989:
1985:
1972:
1890:
1877:
1405:review and final editing.
1394:Visual effects supervisor
1229:
1221:Special effects assistant
989:
587:
517:Cast Production Assistant
371:Other assistant directors
360:Second assistant director
2285:Utility sound technician
1816:Levy, Frederick (2000).
1663:"Producers Guild Awards"
1553:Additional orchestration
1244:and involves the use of
961:Construction coordinator
351:First assistant director
2585:Unit still photographer
2270:Director of audiography
1999:Unit production manager
1427:artists / Paint artists
1377:Visual effects producer
891:
718:
612:Second assistant camera
571:Director of photography
459:unit still photographer
200:personnel (such as the
3146:Filmmaking occupations
2275:Production sound mixer
2004:Production coordinator
1774:Katz, Ephraim (2005).
1531:Score recorder / mixer
1302:
1137:The Key make-up Artist
868:Assistant art director
804:Second assistant sound
782:Production sound mixer
603:First assistant camera
566:
548:
342:Production coordinator
311:Production managements
240:
2834:Principal photography
2545:Visual effects editor
2540:VFX creative director
2009:Production accountant
1820:. Renaissance Books.
1751:on September 18, 2010
1588:traditional animation
1401:Visual effects editor
1267:
1035:Any film that uses a
554:
532:
386:Production accountant
226:
190:principal photography
145:, for the purpose of
28:The Film Crew (video)
3072:Guerrilla filmmaking
3046:Digital distribution
2989:Digital intermediate
2829:Cinematic techniques
2464:Intimacy coordinator
2034:Production assistant
1595:3D computer graphics
1348:digital intermediate
967:construction manager
861:Standby art director
474:System administrator
392:Hollywood accounting
302:Production assistant
179:technological change
57:improve this article
2794:Production schedule
2228:Lighting technician
2084:Production designer
1793:Knox, Dave (2005).
1065:wardrobe supervisor
834:Production designer
709:Lighting technician
525:Camera and Lighting
3107:First-dollar gross
2522:Technical director
2295:Re-recording mixer
2024:Script coordinator
2014:Assistant director
1953:Executive producer
1799:Three Rivers Press
1599:computer animation
1493:recording industry
1478:Re-recording mixer
1303:
1269:Thelma Schoonmaker
1151:Make-up supervisor
1059:Costume supervisor
1045:Costume department
672:motion control rig
567:
549:
428:Location assistant
317:Production manager
274:Executive producer
241:
143:production company
3133:
3132:
2923:
2922:
2799:Shooting schedule
2601:
2600:
2597:
2596:
2593:
2592:
2568:
2567:
2459:Acting instructor
2434:Movement director
2223:Best boy electric
2167:
2166:
2070:
2069:
2062:Storyboard artist
2019:Script supervisor
1968:
1967:
1538:Music preparation
1281:Best Film Editing
1236:Stunt coordinator
1194:practical effects
543:(1950), starring
490:Script supervisor
296:production budget
284:Production office
133:
132:
125:
107:
3163:
3124:
3123:
3122:
3077:Development hell
3007:Film distributor
2910:Costume designer
2887:Daily production
2867:
2866:
2861:Dailies (rushes)
2856:Daily call sheet
2784:Production board
2745:Script breakdown
2628:
2621:
2614:
2605:
2604:
2528:
2527:
2332:Music supervisor
2137:
2136:
2096:Costume designer
2050:
2049:
2039:Location manager
2029:Casting director
1987:
1986:
1974:
1973:
1910:Supporting actor
1879:
1878:
1859:
1852:
1845:
1836:
1835:
1831:
1812:
1789:
1761:
1760:
1758:
1756:
1747:. Archived from
1736:
1730:
1729:
1727:
1725:
1710:
1701:
1700:
1698:
1696:
1687:. Archived from
1681:
1675:
1674:
1672:
1670:
1659:
1622:
1617:
1616:
1615:
1566:Previsualization
1561:Previsualization
1486:Music supervisor
1279:nominations for
1246:stunt performers
1128:Make-up Designer
1119:Hair and make-up
1083:Breakdown artist
1051:Costume designer
776:Sound Production
677:Set photographer
510:Casting director
453:Social publicist
405:Location manager
128:
121:
117:
114:
108:
106:
65:
41:
33:
3171:
3170:
3166:
3165:
3164:
3162:
3161:
3160:
3136:
3135:
3134:
3129:
3126:Film portal
3120:
3118:
3111:
3055:
3051:Streaming media
2993:
2967:Special effects
2929:Post-production
2919:
2865:
2810:
2789:Day out of days
2757:Shooting script
2731:
2688:film adaptation
2637:
2632:
2602:
2589:
2564:
2526:
2494:Post-production
2488:
2479:Stunt performer
2407:
2369:
2352:Special effects
2346:
2290:Dialogue editor
2256:
2186:Camera operator
2163:
2135:
2126:Property master
2076:
2066:
2048:
1981:
1964:
1936:
1920:Character actor
1886:
1873:
1863:
1828:
1809:
1786:
1770:
1768:Further reading
1765:
1764:
1754:
1752:
1737:
1733:
1723:
1721:
1711:
1704:
1694:
1692:
1691:on June 3, 2016
1683:
1682:
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1666:
1661:
1660:
1656:
1651:
1638:Production team
1633:Outline of film
1618:
1613:
1611:
1608:
1578:
1563:
1462:Dialogue editor
1449:
1447:Sound and music
1370:
1330:Negative cutter
1326:
1273:Martin Scorsese
1262:
1260:Post-production
1232:
1206:post-production
1189:special effects
1184:
1182:Special effects
1121:
1076:Costume standby
1047:
1014:
992:
958:
894:
846:
820:
778:
721:
687:
638:The camera PA,
594:Camera operator
590:
581:cinematographer
545:Charlton Heston
535:camera operator
527:
506:
486:
446:
444:Digital service
401:
382:
313:
286:
254:
221:
194:post-production
129:
118:
112:
109:
66:
64:
54:
42:
31:
24:
17:
12:
11:
5:
3169:
3159:
3158:
3153:
3151:Cinematography
3148:
3131:
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3113:
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3099:
3094:
3089:
3084:
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2920:
2918:
2917:
2915:Make-up artist
2912:
2907:
2902:
2899:
2894:
2889:
2884:
2879:
2877:Film inventory
2873:
2871:
2864:
2863:
2858:
2853:
2852:
2851:
2846:
2841:
2839:Cinematography
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2752:
2741:
2739:
2737:Pre-production
2733:
2732:
2730:
2729:
2724:
2719:
2718:
2717:
2707:
2705:Film budgeting
2702:
2701:
2700:
2695:
2690:
2685:
2680:
2670:
2665:
2664:
2663:
2653:
2651:Film treatment
2647:
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2534:
2532:Visual effects
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2504:
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2426:
2421:
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2406:
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2395:
2390:
2388:Visual effects
2385:
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2198:
2196:Clapper loader
2193:
2183:
2177:
2175:
2169:
2168:
2165:
2164:
2162:
2161:
2156:
2151:
2145:
2143:
2134:
2133:
2131:Weapons master
2128:
2123:
2118:
2113:
2111:Make-up artist
2108:
2103:
2098:
2093:
2092:
2091:
2080:
2078:
2072:
2071:
2068:
2067:
2065:
2064:
2058:
2056:
2047:
2046:
2044:Location scout
2041:
2036:
2031:
2026:
2021:
2016:
2011:
2006:
2001:
1995:
1993:
1991:Pre-production
1983:
1982:
1979:Below the line
1970:
1969:
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1961:
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1934:
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1887:
1884:Above the line
1875:
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1702:
1676:
1653:
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1647:
1646:
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1630:
1628:Cinematography
1624:
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1488:
1483:
1480:
1475:
1472:
1467:
1464:
1459:
1455:
1453:Sound designer
1448:
1445:
1444:
1443:
1440:
1435:
1428:
1422:
1411:
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1399:
1396:
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1378:
1369:
1368:Visual effects
1366:
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1357:
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1322:
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1219:
1215:
1198:visual effects
1183:
1180:
1179:
1178:
1175:
1172:
1169:
1164:
1161:
1159:Make-up artist
1156:
1152:
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1142:
1139:
1134:
1130:
1120:
1117:
1116:
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1097:
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1074:
1071:
1068:
1060:
1057:
1053:
1046:
1043:
1042:
1041:
1033:
1031:Weapons master
1028:
1020:
1013:
1010:
1009:
1008:
1005:
1002:
998:
991:
988:
987:
986:
979:
976:
973:
972:Head carpenter
970:
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948:
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927:
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893:
890:
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888:
884:
882:Graphic artist
879:
876:
873:
869:
866:
862:
859:
855:
845:
842:
841:
840:
836:
825:art department
819:
818:Art department
816:
815:
814:
806:
801:
793:
788:
784:
777:
774:
773:
772:
765:camera dollies
761:
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747:
739:
720:
717:
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712:
706:
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696:
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678:
675:
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656:
652:
647:
644:camera trainee
636:
633:
629:
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614:
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600:
596:
589:
586:
585:
584:
577:
573:
563:Somerset House
526:
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485:
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455:
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421:Location scout
418:
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285:
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276:
271:
267:
253:
250:
229:Dorothy Arzner
227:Film director
220:
217:
213:technical crew
210:below-the-line
198:above-the-line
186:pre-production
169:or the film's
159:provide voices
131:
130:
45:
43:
36:
15:
9:
6:
4:
3:
2:
3168:
3157:
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3141:
3128:
3127:
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3098:
3095:
3093:
3092:Film industry
3090:
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3075:
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3009:
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2996:
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2987:
2985:
2984:Negative cost
2982:
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2874:
2872:
2870:Daily reports
2868:
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2755:
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2742:
2740:
2738:
2734:
2728:
2727:Working title
2725:
2723:
2720:
2716:
2713:
2712:
2711:
2708:
2706:
2703:
2699:
2696:
2694:
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2640:
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2606:
2586:
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2518:
2515:
2513:
2510:
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2500:
2499:
2497:
2495:
2491:
2485:
2482:
2480:
2477:
2475:
2472:
2470:
2467:
2465:
2462:
2460:
2457:
2455:
2452:
2450:
2447:
2445:
2442:
2440:
2439:Choreographer
2437:
2435:
2432:
2430:
2429:Dialect coach
2427:
2425:
2422:
2420:
2417:
2416:
2414:
2410:
2404:
2403:Layout artist
2401:
2399:
2396:
2394:
2391:
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2380:
2378:
2376:
2372:
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2328:
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2310:
2306:
2303:
2302:
2301:
2298:
2296:
2293:
2291:
2288:
2286:
2283:
2281:
2280:Boom operator
2278:
2276:
2273:
2271:
2268:
2267:
2265:
2263:
2259:
2251:
2248:
2246:
2243:
2241:
2240:Best boy grip
2238:
2237:
2236:
2233:
2229:
2226:
2224:
2221:
2220:
2219:
2216:
2214:
2211:
2209:
2206:
2202:
2199:
2197:
2194:
2192:
2189:
2188:
2187:
2184:
2182:
2179:
2178:
2176:
2174:
2170:
2160:
2159:Scenic design
2157:
2155:
2152:
2150:
2149:Matte painter
2147:
2146:
2144:
2142:
2138:
2132:
2129:
2127:
2124:
2122:
2119:
2117:
2116:Set decorator
2114:
2112:
2109:
2107:
2104:
2102:
2099:
2097:
2094:
2090:
2087:
2086:
2085:
2082:
2081:
2079:
2073:
2063:
2060:
2059:
2057:
2055:
2051:
2045:
2042:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2020:
2017:
2015:
2012:
2010:
2007:
2005:
2002:
2000:
1997:
1996:
1994:
1992:
1988:
1984:
1980:
1975:
1971:
1959:
1958:Line producer
1956:
1954:
1951:
1950:
1949:
1948:Film producer
1946:
1944:
1941:
1939:
1938:Film director
1935:
1931:
1928:
1926:
1923:
1921:
1918:
1916:
1915:Ensemble cast
1913:
1911:
1908:
1906:
1905:Leading actor
1903:
1901:
1898:
1897:
1896:
1893:
1892:
1889:
1885:
1880:
1876:
1871:
1867:
1860:
1855:
1853:
1848:
1846:
1841:
1840:
1837:
1829:
1827:1-58063-123-1
1823:
1819:
1814:
1810:
1808:1-4000-9759-2
1804:
1800:
1796:
1791:
1787:
1785:0-06-074214-3
1781:
1777:
1772:
1771:
1755:September 19,
1750:
1746:
1742:
1735:
1720:
1716:
1709:
1707:
1690:
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1664:
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1626:
1625:
1621:
1610:
1603:
1600:
1596:
1591:
1589:
1584:
1583:
1573:
1571:
1570:storyboarding
1567:
1555:
1552:
1549:
1547:
1544:
1541:
1539:
1536:
1533:
1530:
1526:
1524:
1520:
1517:
1512:
1510:
1507:
1504:
1503:musical score
1500:
1497:
1494:
1489:
1487:
1484:
1481:
1479:
1476:
1473:
1471:
1468:
1465:
1463:
1460:
1456:
1454:
1451:
1450:
1441:
1439:
1438:Matte painter
1436:
1433:
1429:
1426:
1423:
1420:
1416:
1412:
1410:
1407:
1403:
1400:
1397:
1395:
1392:
1388:
1386:
1383:
1379:
1376:
1375:
1374:
1362:
1358:
1355:
1352:
1349:
1345:
1344:photochemical
1341:
1339:
1336:
1333:
1331:
1328:
1327:
1317:
1314:
1310:
1308:
1305:
1304:
1300:
1299:
1294:
1293:
1288:
1287:
1282:
1278:
1277:Academy Award
1274:
1270:
1266:
1253:
1250:
1247:
1243:
1239:
1237:
1234:
1233:
1223:
1220:
1216:
1214:
1211:
1210:
1209:
1207:
1203:
1202:video editing
1199:
1195:
1191:
1190:
1176:
1173:
1170:
1168:
1165:
1162:
1160:
1157:
1153:
1150:
1147:
1143:
1140:
1138:
1135:
1131:
1129:
1126:
1125:
1124:
1113:
1109:
1105:
1101:
1098:
1095:
1091:
1089:Costume buyer
1088:
1085:
1082:
1078:
1075:
1072:
1069:
1066:
1061:
1058:
1054:
1052:
1049:
1048:
1038:
1034:
1032:
1029:
1025:
1021:
1019:
1016:
1015:
1006:
1003:
999:
997:
994:
993:
984:
980:
977:
974:
971:
968:
963:
960:
959:
949:
947:
944:
940:
938:
935:
932:
928:
926:
923:
920:
917:
914:
913:Academy Award
909:
907:
906:Set decorator
904:
901:
899:
896:
895:
885:
883:
880:
877:
874:
870:
867:
863:
860:
856:
854:
851:
850:
849:
837:
835:
832:
831:
830:
827:
826:
812:
807:
805:
802:
799:
794:
792:
791:Boom operator
789:
785:
783:
780:
779:
770:
769:camera cranes
766:
762:
760:
757:
754:
751:
748:
745:
740:
738:
735:
734:
733:
731:
727:
713:
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707:
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697:
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692:
689:
688:
679:
676:
673:
669:
666:
663:
660:
657:
653:
651:
648:
645:
641:
640:camera intern
637:
634:
630:
627:
623:
619:
615:
613:
610:
606:
604:
601:
597:
595:
592:
591:
582:
578:
574:
572:
569:
568:
564:
560:
559:
553:
546:
542:
541:
540:Julius Caesar
536:
531:
519:
516:
513:
511:
508:
507:
498:
493:
491:
488:
487:
477:
475:
472:
468:
466:
465:Legal counsel
463:
460:
456:
454:
451:
450:
449:
437:
434:
430:
427:
424:
422:
419:
415:
412:
408:
406:
403:
402:
393:
389:
387:
384:
383:
373:
370:
367:
363:
361:
358:
354:
352:
349:
345:
343:
340:
337:
335:
332:
329:
327:
324:
320:
318:
315:
314:
305:
303:
300:
297:
293:
291:
290:Line producer
288:
287:
277:
275:
272:
268:
265:
264:
263:
260:
259:
249:
245:
238:
234:
230:
225:
216:
214:
211:
207:
203:
199:
195:
191:
187:
182:
180:
176:
172:
168:
164:
160:
156:
152:
148:
144:
140:
135:
127:
124:
116:
113:December 2009
105:
102:
98:
95:
91:
88:
84:
81:
77:
74: –
73:
69:
68:Find sources:
62:
58:
52:
51:
46:This article
44:
40:
35:
34:
29:
22:
21:The Film Crew
3117:
3019:Film release
2999:Distribution
2942:Re-recording
2937:Film editing
2849:Videographer
2823:
2710:Film finance
2668:Step outline
2507:Sound editor
2474:Stunt double
2469:Stage combat
2449:Talent agent
2419:Acting coach
2342:Orchestrator
2337:Music editor
2300:Foley artist
2191:Focus puller
2089:Art director
1943:Screenwriter
1865:
1817:
1794:
1775:
1753:. Retrieved
1749:the original
1734:
1722:. Retrieved
1718:
1693:. Retrieved
1689:the original
1679:
1667:. Retrieved
1657:
1592:
1580:
1579:
1564:
1546:Music editor
1523:Orchestrator
1521:Conductor /
1509:Foley artist
1470:Sound editor
1371:
1360:
1298:The Departed
1296:
1295:(2004), and
1290:
1284:
1187:
1185:
1174:Hair stylist
1122:
1111:
1107:
1103:
1093:
1070:Key costumer
1064:
966:
956:Construction
898:Set designer
853:Art director
847:
823:
821:
722:
643:
639:
618:clapperboard
556:
538:
447:
334:Unit manager
256:
255:
246:
242:
206:screenwriter
183:
138:
136:
134:
119:
110:
100:
93:
86:
79:
67:
55:Please help
50:verification
47:
3097:Film rights
3087:Filmography
2844:Videography
2772:Scenography
2683:spec script
2643:Development
2502:Film editor
2424:Body double
2305:Voice foley
2213:Second unit
2173:Photography
2154:Illustrator
2141:Visual arts
2121:Set dresser
2106:Hairdresser
2075:Production
1930:Cameo actor
1900:Voice actor
1778:. Collins.
1724:October 23,
1669:January 13,
1620:Film portal
1505:for a film.
1307:Film editor
1292:The Aviator
1286:Raging Bull
1146:prosthetics
937:Set dresser
875:Illustrator
726:sound stage
711:/ Electrics
705:technician.
628:Film loader
479:production.
347:production.
233:silent film
167:film studio
72:"Film crew"
3156:Filmmaking
3140:Categories
3102:Turnaround
3067:Box office
2952:Soundtrack
2947:Sync sound
2905:Editor log
2882:Production
2816:Production
2762:Storyboard
2722:Greenlight
2673:Screenplay
2661:scriptment
2635:Filmmaking
2580:Swing gang
2550:Compositor
2484:Under-five
2245:Dolly grip
2054:Storyboard
1870:filmmaking
1649:References
1516:Jack Foley
1409:Compositor
1108:seamstress
1018:Propmaster
996:Key scenic
931:swing gang
759:Dolly grip
701:(electric)
622:film stock
565:in London.
561:(2004) at
484:Continuity
380:Accounting
258:Production
252:Production
175:production
83:newspapers
2824:Film crew
2804:one-liner
2777:Rehearsal
2560:Rendering
2375:Animation
2322:Subtitles
2201:Steadicam
2101:Greensman
1925:Bit actor
1866:Film crew
1582:Animation
1576:Animation
1425:Rotoscope
1417:imagery,
1324:Editorial
1251:Set Medic
1208:process.
1080:dressing.
978:Propmaker
946:Greensman
659:Steadicam
599:combined.
579:The term
470:location.
399:Locations
235:era into
163:producers
139:film crew
3041:Roadshow
2957:Timecode
2892:Progress
2656:Producer
2517:Animator
2512:Colorist
2454:Stand-in
2393:Modeling
2383:Animator
2327:Composer
2235:Key grip
1606:See also
1498:Composer
1356:colorist
1354:Telecine
1338:Colorist
1289:(1980),
1167:Key hair
1037:prop gun
1012:Property
798:perchman
750:Best boy
744:blocking
737:Key grip
699:Best boy
685:Lighting
661:operator
497:blocking
266:Producer
219:Director
202:director
3060:Related
3034:delayed
3029:limited
2767:Casting
2750:process
2678:process
2398:Rigging
2312:Dubbing
1745:Fxguide
1458:liking.
1390:scenes.
1342:With a
1225:stunts.
1204:in the
1094:shopper
925:Leadman
608:loaded.
504:Casting
237:talkies
97:scholar
2977:visual
2698:Option
2412:Talent
2218:Gaffer
2077:design
1824:
1805:
1782:
1695:May 8,
1528:score.
1432:mattes
1230:Stunts
1218:magic.
1112:tailor
1104:fitter
1099:Cutter
990:Scenic
752:(grip)
691:Gaffer
588:Camera
366:extras
192:, and
155:actors
99:
92:
85:
78:
70:
2972:sound
2962:Music
2897:Sound
2715:pitch
2573:Other
2444:Extra
2262:Sound
1895:Actor
1361:grade
1242:stunt
1110:, or
1024:props
983:props
918:Buyer
839:film.
811:BECTU
104:JSTOR
90:books
3082:Film
3024:wide
3012:list
2901:Cost
2693:Hook
2250:Grip
1822:ISBN
1803:ISBN
1780:ISBN
1757:2010
1726:2021
1697:2016
1671:2017
1597:and
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