Film crew

The term art director, is an overall title for a variety of similar job functions in advertising, publishing, film and television, the Internet, and video games. Art director"

Assistant director is a movie term for an assistant to the director whose duties include tracking the progress of filming versus the production schedule, and preparing call sheets. Assistant director"

In a film crew there are two kinds of best boy: Best Boy Electric and Best Boy Grip. In the simplest forms, they are assistants to their department heads, the Gaffer and the Key Grip, respectively. Best boy"

A boom operator is an assistant of the production sound mixer. The principle responsibility of the boom operator is microphone placement, sometimes using a "fishpole" with a microphone attached to the end and sometimes, when the situation permits, using a " boom" (most often a "fisher boom") which is a special piece of equipment that the operator stands on and that allows precise control of the microphone at a much greater distance away from the actors. He or she will also place wireless microphones on actors when it is necessary. Boom operator (media)"

A camera operator is a person that operates a film camera or video camera for the purpose of recording motion to film, video, or a computer storage medium. Camera operators serving in an official capacity in the process of filmmaking may be known variously as a motion picture camera operator, filmographer, television camera operator, video camera operator, or videographer, depending on the context and technology involved. The operator is responsible not only for physically operating the camera, but for composition as well. Camera operator"

A cinematographer (from 'cinema photographer') is one photographing with a motion picture camera (the art and science of which is known as cinematography). The title is generally equivalent to director of photography (DP or DoP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and techical decisions related to the image. The cinematographer is sometimes also the camera operator. The term cinematographer has been a point of contention for some time now; some professionals insist that it only applies when the director of photography and camera operator are the same person, although this is far from being uniformly the case. To most, cinematographer and director of photography are interchangeable terms. Cinematographer"

A clap boy or clapper-boy is a defunct movie industry profession. This person loaded film into and out of film magazines in cameras in early filmmaking. Clap boy"

A clapper loader is part of a film crew, whose name refers to the tasks of operating the clapperboard (slate) at the beginning of each take and loading the raw film stock into camera magazines. The name is often referred to in shorthand as "the loader", although some shoots will actually have a separate person solely responsible for loading and unloading the magazines, in which case they're called the 2nd Assistant Camera (2nd AC). In the United States, "2nd AC" is almost exclusively used to describe the position; "clapper loader" tends to be more favored in the United Kingdom. Clapper loader"

The dialogue editor assembles, synchronises, and edits all the dialogue in a film or television production. Usually they will use the production tracks, that is the sound that was recorded on the set, and smooth it out in terms of volume and equalisation. If any of the production tracks are unusable they can be replaced by either alternate production tracks recorded on set or by ADR, automated dialogue replacement, which is recorded after the shoot with the actors watching their performances in a sound studio and rerecording the lines. Dialogue editor"

Executive producer is a role in the entertainment industry that is sometimes difficult to clearly define. Executive producers vary in involvement, responsibility and power. Some executive producers have hands-on control over every aspect of production, some supervise the producers of a project, while others are involved in name only. Executive producer"

A film crew is a group of people hired by a film company for the purpose of producing a film or motion picture. Crew are distinguished from cast, the actors who appear in front of the camera or provide voices for characters in the film. A film crew is divided into different departments ** , each of which specializes in a specific aspect of film production. Film crew"

A film editor is a person who practices film editing by assembling separate takes into a coherent film. This is not a simple matter of tacking the scene of the man walking up to the front door to the scene of the man inside the house. In making a film the editors play a dynamic and creative role. Film editor"

A film producer oversees the making of movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from inception to completion of a project. Film producer"

In cinematography, a focus puller or first assistant camera (1 AC) is the member of a film crew responsible for keeping the camera's focus right during a shoot. Often this requires pulling the focus with a follow focus device during the take without looking through the camera (the camera operator is doing that), to compensate for camera or subject movement. The depth of field may sometimes be very small, as little as 1/4 or 1/8th of an inch (3 - 6 mm) in extreme circumstances. Most people on the set will agree that the focus puller's job is among the most technically difficult during production. Focus puller"

The foley artist on a film crew is the person who creates and records many of the sound effects. Foley artists, editors, and supervisors are highly specialized and are essential for producing a professional-sounding soundtrack suitable for distribution and exhibition. Foley artist"

A gaffer in the motion picture industry is the head of the electrical department, responsible for the execution (and sometimes the design) of the lighting plan for a production. Sometimes the gaffer is credited as Chief Lighting Technician. In television the term Lighting Director is often used, but sometimes the Technical Director (T.D.) will light the studio set. Gaffer"

A grip is a term that dates back to the early era of the circus. It carried on from there to vaudeville and on to today's music and film soundstages and sets. Some have suggested the name comes from the 1930s-40s slang term for a tool bag or "grip" that these technicians use to carry their equipment to work. Grip (job)"

In American and Canadian film-making, the key grip is the chief grip on the set. Like a foreman, the key grip directs a crew of grips, some with specialized skills such as dolly grips, crane operators, camera car operators, etc. A grip helps the director of photography get the visual results they are looking for. A Gaffer works only with the lights. The grips do everything else such as setting up flags, silks, and nets that shape the light. Key grip"

A leadman is an art department member who is in responsible for the swing gang and/or the set dressers on a film set. The swing gang does the set construction and demolition. Set dressers keep the set in the proper condition by placing and moving elements and props as needed for the story, continuity and to make room for the filming equipment. The leadman takes directions from the set decorator. Leadman"

Light technicians are involved with setting up and controlling lighting equipment. Toward this end, they will confer with the director and the cinematographer. Light technicans will also study the script to determine lighting effects required. They are responsible for the movement and set up of various pieces of lighting equipment for visual effects. Light technician"

(List of star-director collaborations) ** Greetings (1968) List of star-director collaborations"

Production designer is a term used in the movie industry to refer to the person responsible for the overall look of a film or TV movie. From early in pre-production, this person collaborates with the director and director of photography to define the visual feel and specific needs of the project. The production designer guides key personnel in other departments such as the costume designer, locations manager and picture car coordinator to establish a unified visual appearance to the film. The “art department” is a group of people who work with the production designer to implement the scenic elements of that vision. The art director supervises set construction and painting, as well as modifications to existing locations, such as changing signs or installing new carpet. An art director has a myriad of specialist reporting to them including painters, carpenters, greensmen (landscapers) and tile experts. The set decorator, often someone with experience in interior decoration, finds decorative items for the sets such as furniture, wallpaper, knick-knacks and lighting fixtures. Working under the decorator are buyers, as well as a crew of set dressers who bring the items to the set, arrange furniture, hang curtains and “dress” the set. A prop master coordinates with the production designer, but also works closely with the director and actors to provide the items handled directly by the actors such as newspapers, weapons, musical instruments and food. For the most part, the prop crew, along with an on-set dresser, maintain the integrity of the production designer’s vision during the shoot and manipulate the items for the camera. Production designer"

The production sound mixer is the member of a film crew responsible for recording all sound on set during the photography of a motion picture. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. Production sound mixer"

The property master is an artistic and organizational employee in a film, television or theatrical production who is responsible for buying, acquiring and/or manufacturing any props needed for a production. The property master works with other members of the production managing the physical appearance of the stage or set, for example they might work with the script supervisor to maintain set continuity. Property master"