Upgrade to remove ads
Terms in this set (97)
is a group of people hired by a production company for the purpose of producing a film or motion picture.
is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack.
Second unit director
is responsible for overseeing the photography assigned to the second unit, which can range from minor insert shots to large stunt sequences.
creates the conditions for film-making. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors.
is a producer who was not involved in the technical aspects of the film-making process in the original definition, but has played a financial or creative role in ensuring that the project goes into production.
is the liaison between the studio or producer and the production manager, responsible for managing the production budget.
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.
supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling.
Assistant production manager
is the chief 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.
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.
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 production.
First assistant director
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 working environment in which the director, principal artists ( actors) and crew can be focused on their work.
Second assistant director
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 extras 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.
Other assistant directors
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).
manage the money and ensure the production comes in on budget and everyone gets paid.
Oversees the locations department and its staff, typically reporting directly to the production manager and/or assistant director (or even director and/or executive producer). Location manager is responsible for final clearing (or guaranteeing permission to use) a location for filming and must often assist production and finance departments in maintaining budget management regarding actual location/permit fees as well as labor costs to production for himself and the locations department at large.
Assistant location manager
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.
Does much of the actual research, footwork and photography to document location possibilities. Often the location manager will do some scouting himself, as well as the assistant location manager.
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 neighbors; and ultimately, at the end of the filming, making sure it seems as though the film crew was never there. There is generally one to three assistants on a shoot at any given time.
Location production assistant
This position exists generally on larger budget productions. The locations PA is the assistant who is almost never on-set, but instead is always propping a location or wrapping a location. That is, when a location requires several days of set up and breakdown prior and following the day(s) of filming. A location production assistant is what a set production assistant is in Canada.
The publicist liaises between the film production and the media. They create press releases, in collaboration with the producers, and work with the stills photographer.
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 and/or crew cross international borders to shoot on location.
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 production.
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.
chooses the actors for the characters of the film. This usually involves inviting potential actors to read an excerpt from the script for an audition.
Director of photography
is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of shots in conjunction with the film's director.
uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film or video.
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.
Second assistant camera
2nd AC or Clapper loader, operates the clapperboard at the beginning of each take and loads the raw film stock or blank videocassette into the camera magazines between takes, if there is no additional specifically designated film loader.
motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC.
Camera production assistant
camera intern or camera trainee, assists the crew while learning the trade of the camera assistant, operator or cinematographer
Digital imaging technician
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 in most professional digital cameras to creatively or technically manipulate the resulting image.
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.
Motion control technician/Operator
This technician operates a motion control rig, 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.
is the head of the lighting department, responsible for the design of the lighting plan for a production. This is credited as chief lighting technician.
Best boy ( lighting)
is the chief assistant to the gaffer. He or she is not usually on set, but dealing with the electric truck, rentals, manpower, and other logistics.
are involved with setting up and controlling lighting equipment.
assist the lighting crew but are not part of the lighting crew. They are responsible for the execution of the electrical distribution around the set from lights to the directors coffee maker.
report to the key grip and are responsible for lifting heavy things and setting rigging points for lights.
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 blocking.
Best boy ( grip)
is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
The grip in charge of operating the camera dollies and camera cranes 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.
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 film.
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.
Standby art director
In the organizational system used in the UK and Ireland, the standby art director monitors the art department's work on set during filming on behalf of the production designer.
Assistant art director
The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations, collecting information for the production designer.
is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
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.
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.
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.
works with, and reports to, the set decorator. The buyer locates, and then purchases or rents the set dressing.
is the foreman of the set dressing crew, often referred to as the swing gang. He or she also assists the set decorator.
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.)
is a specialized set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both.
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 construction manager.
is the foreman of a gang of carpenters and laborers.
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.
is in charge of finding and managing all the props that appear in the film.
as the name implies, builds the props that are used for the film. Props builders are often technicians skilled in construction, plastics casting, machining, and electronics.
is a specialized prop technician who deals with firearms. In most jurisdictions this requires special training and licenses
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.
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. Also called the wardrobe supervisor, although this term is used less and less.
is employed on larger productions to manage the set costumers, and to handle the star's wardrobe needs.
is present on set at all times. It is his/her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. (S)he will also assist the actors and actresses with dressing.
may be employed during the pre-production period to break down garments. This specialized job includes making new clothing appear dirty, faded and worn.
On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.
A costume technician who fits or tailors costumes, usually on-set. They might also be called fitter, seamstress or tailor.
Key make-up artist
artist is the department head that answers directly to the director and production designer.
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.
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.
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.
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.
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. S/he is also responsible for reproducing weather conditions and other on-camera magic.
Special effects assistant
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 stunts.
Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director and the 1st AD.
Production sound mixer
is head of the sound department on set, responsible for recording all sound during filming. This involves the choice and deployment of microphones, operation of a sound recording device, and the mixing of audio signals in real time.
an assistant to the production sound mixer, responsible for microphone placement and movement during filming.
Utility sound technician
has a dynamic role in the sound department, most typically pulling cables, but often acting as an additional boom operator or mixer when required by complex filming circumstances.
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 the production accountant.
is the person who assembles the various shots into a coherent film, with the help of the director. There are usually several assistant editors.
splices the negatives as directed by the film editor, and then provides the assembled negative reels to the lab in order for prints (positives for projection) to be made.
With a photochemical process, adjusts the color of the film via printer lights for greater consistency in the film's colors. With a digital intermediate process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.
is responsible for a grade - that is a look that has been created with a grading system, which adjusts brightness, contrast and color.
Visual effects producer
works with the visual effects supervisor to break down the script into storyboards, and advises the director as to how s/he should approach the scenes.
Visual effects creative director
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 scenes.
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.
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 review and final editing.
A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings, photographs, and text.
Rotoscope artists/ paint artists
may rotoscope the footage, manually creating mattes for use in compositing. They may also paint visual information into or out of a scene, such removing wires and rigs, logos, dust busting, scratch removal, etc.
entire sets or extend portions of an existing set.
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 liking.
is responsible for assembling and editing all the dialog in the soundtrack.
is responsible for assembling and editing all the sound effects in the soundtrack.
balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track.
or music director, 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 recording industry, negotiating the use rights for all source music used in a film.
is responsible for writing the musical score for a film.
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.
THIS SET IS OFTEN IN FOLDERS WITH...
Combo with Fundamentals of A/V Tech and Film and 5…
film and media 85A
TV Production Chapter 2
YOU MIGHT ALSO LIKE...
Introduction to Video Production
Video Production Careers
OTHER SETS BY THIS CREATOR
IB test 2 chp 17
IB test 2 chp 14
IB Test 2 chp. 13
IB Test 2 Chp. 11