Download View a list of all the positions on a film or televison crew

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