Stunt Coordinator: A stunt coordinator is responsible for overseeing all aspects of stunts including casting and choreography. The coordinator may work with actors and directors to design and implement stunt scenes.
Assistant Director: The role of an Assistant director include tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, maintaining order on the set.
- The First Assistant Director (First or 1st AD) has overall AD responsibilities and supervises the Second AD. The "first" is directly responsible to the director and "runs" the floor or set. The 1st AD and the unit production manager are two of the highest "below the line" technical roles in filmmaking (as opposed to creative or "above the line" roles) and so, in this strict sense, the role of 1AD is non-creative.
- The Second Assistant Director (Second or 2AD) creates the daily call sheets from the production schedule,[citation needed] in cooperation with the production coordinator. The "second" also serves as the "backstage manager", liaising with actors, putting cast through make-up and wardrobe, which relieves the "first" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, and the setting of background (extras) are parts of the "second's" duties.
- The Second Second Assistant Director (Second Second or 22AD) deals with the increased workload of a large or complicated production. For example, a production with a large number of cast may require the division of the aspects of backstage manager and the call sheet production work to two separate people.
- The Third Assistant Director (Third or 3rd AD) works on set with the "First" and may liaise with the "Second" to move actors from base camp (the area containing the production, cast, and hair and makeup trailers), organize crowd scenes, and supervise one or more production assistants (PA). There is sometimes no clear distinction between a 2AD and a 3AD. Although some industry bodies (American DGA) have defined the roles in an objective way, others believe it to be a subjective distinction.
- The Additional Assistant Director (AAD or Additional) or Fourth Assistant Director
(4AD or "Fourth") or "Key Production Assistant!" (Key PA) may have a
number of duties. Most commonly, the AAD has two broad job functions.
One is the contraction of the duties of an AD where the AD acts as both
2nd AD and 3rd AD simultaneously. For example, a production with a large
number of cast may pass the 2AD call sheet production work to that of
the AAD, especially when the 2AD is already performing the additional
work of a 3rd AD. The other main use of an AAD is as an adjunct to the
3AD and 1AD for logistically large scenes where more ADs are needed to
control large numbers of extras. The "Additional" may also serve where
the complexity of the scene or specialized elements within it (stunts,
period work) require or are best served by a dedicated AD in most
respects equal to a 1st AD - directing and controlling a number of other
ADs to direct action to the satisfaction of the 1AD and the director.
Location Manager: The location manager is responsible for the finding and securing locations to be used and coordinating the logistics involved for the production to successfully complete its necessary work
Production Assistant: The job of a Production Assistant can vary depending on the budget and specific requirements of a production. They can often be attached to a a particular actor or filmmaker
Script Editor: A Script Editor is a member of the production team of scripted television programmes, usually dramas and comedies. Their responsibilities include finding new script writers, developing storyline and series ideas with writers, ensuring that scripts are suitable for production. They will work closely with the writer at each draft of the script, giving feedback on the quality of the work and suggesting improvements. Also they make sure that practical issues like show continuity and correct running time are adhered to.
Camera Operator: The camera operator is responsible for physically operating the camera and maintaining composition and camera angles throughout a given scene or shot. In narrative filmmaking, the camera operator will collaborate with the director, director of photography, actors and crew to make technical and creative decisions.In filmmaking, the leading camera operator is usually called a cinematographer.
Focus Puller: A focus puller, or 1st assistant camera, is a member of a film crew’s camera department whose primary responsibility is to maintain image sharpness on whatever subject or action is being filmed.
Grip: In the U.S. and Canada, grips are lighting and rigging technicians in the filmmaking and video production industries. In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support.
Set Dresser: Set dressers arrange objects on a film set before shooting. They work under the direction of a leadman, a set decorator and a production designer. Set dressers place furniture, hang pictures, and put out decorative items. They are also responsible for some light construction and assembly of small items, such as air-conditioning ducts. They also move items as necessary to make room for the filming equipment. During the shoot, the prop department works with an on-set dresser to ensure that the props and furnishing are in the proper location for the script and to maintain continuity, as scenes are often shot out of order.
Graphic Designer: A graphic designer is a professional within the graphic design and graphic arts industry who assembles together images, typography or motion graphics to create a piece of design.
Dubbing Mixer: A re-recording mixer, formerly known as a dubbing mixer, is a person who is part of a post-production sound team and works specifically with dialog, music and sound effects to create the final soundtrack for a production. They are responsible for ensuring that the sound in a record single, film or television program is technically correct, and as near to the director's or sound designer's original idea.
Foley Editor: Foley is the reproduction of everyday sound effects which are added in post production to enhance the quality of audio for films, television, video, video games and radio. Foley artists look to recreate the realistic ambient sounds that the film portrays.
ADR Editor: Automated Dialogue Replacement or Additional Dialogue Recording is the process of adding in audio of an actor or actress after the original filming. This can happen because of accompanying noise from the set, equipment, traffic, wind, and the overall ambiance of the surrounding environment resulting in unusable production sound.
