Film Job Functions

stunts:

Unit Production Manager: The UPM is the title for an on-set executive responsible for the administration of a production; especially a film production. A UPM is usually hired by a film producer or television producer, and is responsible for managing the production and regulating the costs of delivering the expected film or television show on budget at the end of principal photography. The UPM does not have any direct responsibilities with the creative direction of the film's narrative. He or she is to support the director's artistic vision on a daily physical production level. Before principal photography begins both the producer and UPM work to secure as many of the production elements as possible, including a workable schedule and budget. Like nearly all members of a film crew, UPMs will typically remain on the shoot until the end of principal photography and can return if there are any reshoots. It is not atypical for a UPM to work 80-100 (or more) hours per week while a film is in production.

Art Director: An Art Director will work directly below the production designer in terms of the hierarchical structure of a film art department.  A large part of their duties include the administrative aspects of the art department. They are responsible for assigning tasks to personnel such as the Art Department Coordinator, and the Leadman, keeping track of the art department budget and scheduling (i.e. Prep/Wrap Schedule) as well as overall quality control.

Set Dressing Buyer: A Set Dressing Buyer will buy the furnishings, wallpaper, lighting fixtures, and many of the other objects that will be seen in the film.

Storyboard Artist: A Storyboard Artist specialises in creating storyboards for advertising agencies and film productions. A storyboard artist is able to visualize any stories using quick sketches on paper at any moment. Quick pencil drawings and marker renderings are two of the most common traditional techniques, although nowadays Flash, Photoshop, and other storyboard applications are gradually taking over. The digital camera is one of the latest techniques in creating storyboards. A storyboard artist is also known as an illustrator or visualizer. They are mostly freelance artists, typically hired by art directors and film directors. Some frequently used drawing applications are Corel Painter and Adobe Photoshop. Many storyboard artists nowadays begin and finish their work on computers using software and digital pencils like Wacom (Graphics tablet). In film, a storyboard artist is hired at the beginning of a project. When a storyboard artist is hired by a motion picture company, the artist must break down the scenes of the script into shots which can be filmed. This is done under the supervision of the film's director in order to ensure the director's vision from the start of the project. Therefore, it can be helpful for the storyboard artist to know the mechanics of filmmaking when assisting the director. As the production proceeds, the storyboards are presented to the cinematographer who is then responsible for bringing that vision to the screen. Film production companies may also hire a storyboard artist to create polished presentation-style storyboards (which might also include sound) which can be used by an executive producer to raise the money to create the film.

Steadicam Operator: Steadicam Operators are responsible for the technical set up of the Steadicam system and for balancing the camera on it. They liaise with director, director of photography (DoP) and actors to set up and perform the required shots. They also work with the 1st assistant camera to ensure that shots are in focus, and with the 1st assistant director to make sure that the choreography of the shot runs smoothly. Steadicam Operators are specialists within the camera department and may be hired on a daily basis to perform specific shots within a scene, or employed as camera operators who specialize in Steadicam.

Camera Loader: A Clapper Loader is part of a film crew, whose main functions are that of loading the raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors as necessary, and maintaining all records and paperwork for the camera department.

Boom: A Boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole with a microphone attached to the end, their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom to enter the camera's frame.

Script Supervisor: A script supervisor (also called continuity supervisor) is a member of a film crew responsible for maintaining the motion picture's internal continuity and for recording the production unit's daily progress in shooting the film's screenplay. The script supervisor is the editor's and writer's representative on set, as well as being the right hand aide to the director and the director of photography. It is the script supervisor's job to make sure that at the end of the day the film can be cut together. In that sense, they back up every department, monitor the script during shooting and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled in the editing room.

Chief Lighting Technician: Lighting Technicians are involved with rigging stage and location sets and controlling artificial, electric lights for film production. In film productions lighting technicians work under the direction of the Gaffer or Chief Lighting Technician whom takes their direction from the cinematographer

Rigging Gaffer: The Rigging Gaffer is a member of the electrics or lighting department who works under the direction of the gaffer and the DP. They have a crew of set lighting technicians and set wiremen, including a best boy, and are generally responsible for pre-lighting on set. Ahead of principal photography on a new scene or location, the Rigging Gaffer arrives to survey the site and plan installation as per the gaffer’s instruction. This person supervises the crew in unloading the lighting truck and installing cable, rigging equipment, and lighting instruments according to the gaffer’s design. This is only preparatory work, as the primary lighting crew will follow to focus lights and refine the look, as will the grips install gobos and other accessories. Essentially, the Rigging Gaffer ensures that all gear is in working order, in place, and ready to be locked down upon arrival of the gaffer.

Best Boy: In a film crew there are two kinds of best boy. These are best boy electric and best boy grip. They are assistants to their department heads, the gaffer and the key grip, respectively.^[1] In short, the best boy acts as the foreman for his/her department. Best boys are responsible for the day-to-day operation of the lighting or grip department. Their many responsibilities include the hiring, scheduling, and management of crew; the ordering, inventory, and returning of equipment; overseeing workplace safety and maintaining discipline within their department; completing timecards and other paperwork; stocking of expendables; loading and unloading production trucks; planning and implementing the lighting or rigging of locations and/or sound stages; coordinating with rigging crews and additional photography units (if applicable); handling relations with the other production departments; overseeing the application of union rules (where relevant); and serving as the day-to-day representative of the department with the Unit Production Manager and Coordinator of the film.

Key Grip: The key grip is the head of the grip department and chief rigging technician on the set. Using light, the key grip is in charge of the shadows of light, the movement of the camera, the placing of cameras on any stationary, moving, flying, or floating surface. As a supervisor, the key grip directs the crew of grips, many with specialized skills such as dolly grips, crane operators, or special equipment operators.