510:, and other details to ensure continuity between shots and scenes. An important part of a script supervisor's job is to make sure that the actors' movements, the directions they are looking in a shot, particularly when speaking to or responding to another actor, plus the positions of props they are using and every thing else matches from shot to shot. If there is an apparent mismatch, the director must be informed immediately so that it can be reshot before the lighting setup is changed or at least before the location is wrapped and the set is struck. Not only does the job of script supervisor require a great deal of awareness and meticulous note-taking skills, it also requires much diplomacy to advise the director that they may have a problem editing something just recorded. The script supervisor is also in charge of providing the "official" scene numbers and take numbers to the second camera assistant (clapper loader in some countries) for the slate, as well as to the sound mixer, and to clearly note which take the director has chosen to be used (as a "print", in film terms) in the finished product. All of this information is then relayed to the editor every day after shooting has wrapped in the form of copies made of both the script supervisor's notes as well as their matching script pages.
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structure of the final edited film. In some cases, the editor may help restructure the story of a film differently from the original script to focus a story point, or increase an emotional response from the audience. They are also involved with providing feedback on the sound mix, visual effects, and music with the director. They can also collaborate with the colorist and director of photography to adjust framing for mood or eye trace. There are usually several assistant editors who creatively support the editor as well as manage footage and data for the entire post production team.
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the director, script supervisor and producers, and laying carpet and other sound dampening materials in locations with problematic floors or a troublesome acoustic. In addition, the 2nd AS is regularly called upon to operate a second boom in scenes with a larger number of actors or where actors are physically spaced too far apart for the 1st AS to cover all of the dialogue with one microphone. The 2nd AS also regularly aids in the radio mic'ing of cast when there are a large number of actors in a scene. The term "sound utility technician" is now considered an outdated term by
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film director. Some directors started as screenwriters, cinematographers, film editors, or actors. Other directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.
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art director or may report directly to the production designer. If a significant amount of greens work is required in a film, then the greens may be an identifiable sub-department, with its own team – often of a size numbering double figures – and hierarchy (e.g., greensmaster, greens supervisor, foreperson, leading hand, laborers). Specialists from other areas of the art dept. (e.g., fabricators, sculptors, painters, scenics) may also be drafted to work exclusively on greens.
1601:, the nature of the medium meant that everything was literally flattened into the drawn lines and solid colors that became the characters, making nearly all live-action positions irrelevant. Because animation has traditionally been so labor-intensive and thus expensive, animation films normally have a separate story department in which storyboard artists painstakingly develop scenes to make sure they make sense before they are actually animated.
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sound for each shot, select which microphones will be used for each setup, mix audio from all of the microphones in real time into a "mix track" that will be used while viewing rushes and during the edit, and sometimes in the final film, and to maintain logs of audio related issues for post production. The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound.
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designer will consult with a special effects makeup team to create all prosthetics and SFX makeup in a production. It is common that the makeup designer performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles. The designer will normally execute especially complicated or important makeup processes that are to be featured on camera.
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feature films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit. So the two credits have become effectively interchangeable, with no precise definition.
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duties can include keeping a record of makeup continuity, handing the scheduling of makeup teams and providing for the general needs of the makeup department. They are expected to be a connection between the makeup department and the rest of the production departments, making sure that makeup supplies, production assistants or electricians are on hand when needed.
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the production accountant. Although this is not a creative role, it is pivotal in ensuring that the film's post-production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film's budget is spent during production, the post-production period can often be difficult and challenging.
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to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this role is taken on by the digital imaging technician.
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decisions strongly similar to those of their live-action counterparts, but implement them in a virtual space that exists only in software rather than on a physical set. There have been major breakthroughs in the simulation of hair since 2005, meaning that hairstylists have been called in since then to consult on a few animation projects.
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after the shooting crew arrives, but one set dresser remains with the shooting crew and is known as the on-set dresser. In some countries, such as
Ireland or the United Kingdom, the set dressing department is referred to as dressing props department. Informally, in the US, the department is often referred to simply as "set dec".
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operation, whereas the location manager continues pre-production from elsewhere (generally an office) on the upcoming locations. (On most location-based television shows, there will be two assistant location managers that alternate episodes, allowing one to prep an upcoming episode while the other is on set with the current one)
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artist to oversee the aesthetic and textural details of sets as they are realized. Typically, the art director oversees the budget and schedule of the overall art department. On large-budget productions with numerous sets and several art directors, one might be credited as supervising art director or senior art director.
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film crews have many of the same roles and departments as live-action films (including directing, production, editing, camera, sound, etc.), but nearly all on-set departments (lighting, electrical, grip, sets, props, costume, hair, makeup, special effects, and stunts) were traditionally replaced with
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lost when the dialogue is removed to be replaced by a foreign-language version. Unsatisfactorily recorded sync sound effects can also be replaced with foley effects. Foley artists are also known as foley walkers. Foley is named after its first known practitioner, an early
Hollywood sound editor named
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Visual effects commonly refers to post-production alterations of the film's images. The on set VFX crew works to prepare shots and plates for future visual effects. This may include adding tracking markers, taking and asking for reference plates and helping the director understand the limitations and
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that is a "realistic imitation firearm" should have a weapons master. The weapons master, sometimes credited as the armorer, weapons specialist, weapons handler, weapons wrangler, or weapons coordinator, is a film-crew specialist who works with the propmaster, director, actors, stunt coordinator, and
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The graphic artist 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. They will often create several versions of a design, the preferred of which then being
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In the organizational system used in
Ireland or the United Kingdom, the standby art director monitors the art department's work on set during filming on behalf of the production designer. They work closely with the standby painters and standby carpenters, and co-ordinate any changes to the set during
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The art director 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. The art director works closely with the construction coordinator and key scenic
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The film loader transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport
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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). In the American system there are 2nd 2nd assistant director (2nd 2nd AD). Normally in the American system 2nd 2nd
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The director gives direction to the cast and crew, and creates an overall vision through which a film eventually becomes realized or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a
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A director is the person who directs the making of a film. The director most often has the highest authority on a film set. Generally, a director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of
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The foley artist 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. The most common reason for recording these effects live to picture is the fact that such sounds are
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The visual effects producer works with the visual effects supervisor to break down the script into storyboards, and advises the director as to how she or he should approach the scenes. Together they determine which sequences are to be shot as live action elements, which would work well in miniature,
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Post-production supervisors 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
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The second assistant sound, utility sound technician, or "2nd AS", is the assistant to the boom operator and is responsible for moving and preparing sound equipment for use around the set while the boom op watches rehearsals and prepares for the next shot, as well as handling wireless audio feeds to
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The production sound mixer (or sound recordist) is the head of the sound department on location and is responsible for the operation of the audio mixer and recorder(s) which receive feeds from the microphones on set. It is their responsibility to decide how they will deploy their team to capture the
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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
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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. The assistant location manager will be onset during the filming process to oversee the
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is generally not considered a department as such, but rather as a series of functional groups. These include the film's producers and executive producers and production office staff such as the production manager, the production coordinator, and their assistants; the various assistant directors; the
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The film editor is the creative head of the post production department and is responsible for assembling the picture into a cohesive edited story, with the help of the director. They are primarily responsible for selecting performances of the actors with the director, adjusting the tempo, pace, and
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The costume supervisor 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. It is also called
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The greensman or greensperson is a specialised set dresser dealing with the artistic arrangement or landscape design of plant material, sometimes real and sometimes artificial, and usually a combination of both. Depending on the scope of the greens work in a film, the greensperson may report to the
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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
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Oversees the locations department and its staff, typically reporting directly to the production manager or assistant director (or even director or executive producer). Location manager is responsible for final clearing (or guaranteeing permission to use) a location for filming and must often assist
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An executive producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process in the original definition, but has played a financial or creative role in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in
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The makeup designer is the department head that answers directly to the director and production designer. They are responsible for planning makeup designs for all leading and supporting cast. Their department includes all cosmetic makeup, body makeup and if special effects are involved, the makeup
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The set dressers 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.) Most of the swing gang's work occurs before and
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The boom operator, first assistant sound or "1st AS", is responsible for using microphones on the end of boom poles (lightweight telescopic poles made of aluminium, or more commonly, carbon fibre) held above actor's heads during a scene to capture dialogue. It is also their responsibility to relay
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This position exists generally on larger budget productions. The locations PA is the assistant who is almost never on set, but instead is always prepping a location or "wrapping" a location; that is, when a location requires several days of setup and breakdown preceding and following the day(s) of
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The make-up supervisor 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. Their
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The costume designer 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. The costume designer works closely with the
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The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the
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The 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
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The director of photography (sometimes shortened to DP or DoP) is in charge of the look of the "frame" of the movie shots, hence the name "photography". They are the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of shots in conjunction with the
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The key scenic artist (scenic charge) 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. The key
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in a major feature film can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its art director, set designers and draftsmen; set decoration, under the set decorator; props, under the props master/mistress; construction,
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The first assistant director (1st AD) 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 safe working environment in which the director, principal artists (actors) and crew can be focused on their work. They
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have made possible a level of rich detail never seen before. Many animated films now have specialized artists and animators who act as the virtual equivalent of lighting technicians, grips, costume designers, props masters, set decorators, set dressers, and cinematographers. They make artistic
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A film producer creates the conditions for filmmaking. The producer initiates, coordinates, supervises, and controls matters such as fund raising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to
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that appear in the film. These include any items handled by actors that are not part of the scenery or costumes, and all consumable food items that appear on screen. Job responsibilities include purchasing, renting, and manufacturing anything actors handle or touch. In period works, it is the
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scenic artist supervises the crew of painters, and is often a master craftsperson. In the UK, the above responsibilities would normally be those of the head painter, and the scenic artist is responsible for producing artist painted backings. In the US, a key scenic is called the charge scenic.
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The first, second and third assistant art directors carry out the instructions of the art director. Their work often involves measuring locations and collecting other pertinent information for the production designer. Sometimes a set designer is also the first assistant art director. In this
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The 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. He or she is also responsible for reproducing weather conditions and other on-camera
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The set decorator 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. They work closely with the production designer and coordinate with the art director. In recognition of the set decorator's importance, the
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or blank videocassette into the camera magazines between takes, if there is no additional specifically designated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that record when the film stock is received, used, and sent to the lab for processing.
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A system administrator or sysadmin, 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
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The construction coordinator 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
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The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film or video. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be
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in most professional digital cameras to creatively or technically manipulate the resulting image. It may also be the responsibility of the DIT to archive and manage the digital data, create compressed dailies from raw footage and prepare all digital images for post-production.
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information from the "floor" back to the production sound mixer regarding upcoming shots, troublesome noises that the mixer will need to be made aware of if they can not be silenced, and for mounting radio microphones on actors. In France, the boom operator is called the
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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. They make notes on every shot, and keep track of props,
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propmaster's job to ensure that the props provided are accurate to the time period. The propmistress usually has several assistants. The assistant propmaster is the person running the set and in charge of working directly with the actors, director, and on-set crew.
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The production designer 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
739:, they move and adjust major set pieces when something needs to be moved to get a camera into position. In addition to lifting heavy objects and setting rigging points for lights, they also report to the key grip. In the US and Canada, grips may belong to the
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The 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. They also thread the film when a new magazine is
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The sound designer, 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
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film's director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct lens, filter, lighting and composition to achieve the desired aesthetic effect. The DP is the senior creative crew member after the director.
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Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in the non-electrical components of lighting set-ups required for a shot, such as flags, overheads, and bounces. On the
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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 or crew cross international borders to shoot on
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VFX creative directors 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
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The best boy electric is the chief assistant to the gaffer. They are not usually on set, but dealing with upkeep of the lighting truck, rentals, manpower, and other logistics. Sometimes the best boy electric is credited as assistant chief lighting
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oversee day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
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A conductor is supposed to be knowledgeable of special synchronization procedures to conduct the score to an orchestra. An orchestrator is someone who furthers the composer's notes and symbols and fills out the intended notation for the film
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The costume standby is present on set at all times. It is his or her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. she or he will also assist the actors and actresses with
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director to understand and interpret "character", and counsels with the production designer to achieve an overall tone of the film. In large productions, the costume designer will usually have one or more assistant costume designers.
1579:(also known as previs, previz, pre-rendering, preview, or wireframe windows) is the visualizing of complex scenes in a film before filming. It is also a concept in still photography. It is also used to describe techniques such as
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day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the production coordinator.
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Films and TV programs in general should always have a set or unit medic on set at all times from construction, through filming and to strike but a film unit that has stunts must always have trained senior EMT(A) or
Paramedic on
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ease of certain shots that will effect the future post production. A VFX crew can also work alongside the special effects department for any on-set optical effects that need physical representation during filming (on camera).
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The music supervisor 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
1125:. Some celebrity actors have favorite cutters, and larger productions may hire several and have them on set at the same time, particularly in period film projects that might have complicated or expensive extras wardrobe.
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chosen by the production designer. On certain productions, they may also be employed, under the direction of the props master, in the creation of small, printed items, such as fliers, receipts, bills of sale, etc.
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The SFX 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
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The production 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
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that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under
European Union law, the director is viewed as the author of the film.
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in the UK and 2nd AS is preferred, with sound utility technician as a role being omitted from recent versions of the rate card. The role is sometimes informally known as a "cable wrangler" or "cable boy".
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The key grip 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
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Does much of the actual research, footwork and photography to document location possibilities. Often the location manager will do some scouting themselves, as well as the assistant location manager.
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Production accountants manage the money and ensure the production comes in on budget and everyone gets paid. The industry is notorious for unusual accounting methods which are collectively labelled
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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.
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The unit manager fulfills 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.
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The assistant production manager is the 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.
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The negative cutter cuts and splices the negatives as directed by the film editor, and then provides the assembled negative reels to the lab for prints (positives for projection) to be made.
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neighbours; and ultimately, at the end of the filming, making sure it seems as though the film crew was never there. There are generally one to three assistants on a shoot at any given time.
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The Head of the
Plastering Department is responsible for managing fibrous plasterers, who are highly skilled plasters who can re-create any period, using mold making and casting abilities.
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Within the overall art department is a sub-department, also called the art department – which can be confusing. This consists of the people who design the sets and create the graphic art.
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Production assistants, 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.
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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.
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A steadicam operator 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.
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The second assistant director (2nd AD) 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
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production and finance departments in maintaining budget management regarding actual location/permit fees as well as labor costs to production for the locations department at large.
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The gaffer is the head of the lighting department, responsible for the design of the lighting plan for a production. Sometimes the gaffer is credited as chief lighting technician.
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Motion picture projects have three discrete stages: development, production, and distribution. Within the production stage there are also three clearly defined sequential phases (
685:, 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.
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is usually synonymous with director of photography, though some professionals insist this only applies when the director of photography and camera operator are the same person.
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A breakdown artist may be employed during the pre-production period to break down garments. This specialized job includes making new clothing appear dirty, faded, and worn.
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The casting director chooses the actors for the characters of the movie. This usually involves inviting potential actors to read an excerpt from the script for an audition.
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The hair stylist 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.
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script supervisor. The weapons master is specifically responsible for maintaining control of any prop weapons, including firearms, knives, swords, bows, and staff weapons.
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The cast PA assists the actors of the film. This usually involves personal and technical requests, that might be highly sensible and private or common domain or knowledge.
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Make-up artists 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.
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The 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.
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The key hair 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.
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Also called electrics or lamp operators, lighting technicians are involved with setting up and controlling lighting equipment and temporary power distribution on set.
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for use in compositing. They may also paint visual information into or out of a scene, such as removing wires and rigs, logos, dust busting, scratch removal, etc.
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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.
405:. Production accountants are often assisted by assistant accountants, sometimes called clerks, responsible for accounts receivable, accounts payable and payroll.
309:. The title is associated with the idea that they are the person who is "on the line" on a day-to-day basis, and responsible for lining up the resources needed.
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that are used for the film. In US jurisdictions, propmakers are carpenters who build props and sets, and are often technicians skilled in wood and metalwork.
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completion of a project. There may be several producers on a film who may take a role in a number of areas, such as development, financing or production.
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Since the turn of the 21st century, several additional professionals are now routinely listed in the production credits on most major motion pictures.
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The publicist liaises between the film production and the media. They create press releases, in collaboration with the producers, and work with the
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The Set
Photographer is the person who creates film stills, still photographic images specifically intended for use in the marketing and publicity.
1107:. This distinction is often made when the lead actor in a production has control over their wardrobe, and they may personally hire this person.
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The re-recording mixer balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the film's audio track.
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The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
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process, the colorist can use digital tools in manipulating the image and has greater creative freedom in changing the aesthetic of a film.
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A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated
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Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.
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A special effects make-up artist works with live models or structures in the entertainment industry, applying make-up effects or
1103:
On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a
1259:, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director and the 1st AD.
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process, the color timer adjusts the color of the film via printer lights for greater consistency in the film's colors. With a
1159:. May be an own department that answers directly to the director and production designer or reports to the Key make-up artist.
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The best boy is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
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a single animation department made up of various types of animators (character, effects, in-betweeners, cleanup, etc.). In
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1583:, either in the form of charcoal sketches or in digital technology, in the planning and conceptualization of film scenes.
192:, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.
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The buyer works with, and reports to, the set decorator. The buyer locates, and then purchases or rents the set dressing.
305:
The line producer is the liaison between the studio or producer and the production manager, responsible for managing the
2799:
1084:
The key costumer is employed on larger productions to manage the set costumers, and to handle the star's wardrobe needs.
114:
3051:
1989:
1894:
220:
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207:) and many film crew positions are associated with only one or two of the phases. Distinctions are also made between
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A music editor is someone who edits the film score and works with the composer to make sure it goes with the film.
60:
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A score's recorder is someone who records the film score and a score's mixer is someone who mixes the film score.
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93:
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814:
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A music preparer is someone who prepares out the score for orchestra performers and who copies out the music.
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2009:
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filming. In the North American system, this work is shared between the props master and the on-set dresser.
184:. A film crew is divided into different departments, each of which specializes in a specific aspect of the
100:
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2014:
792:
352:
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2019:
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38:
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commonly referred to in the United States as a "slate" at the beginning of each take and loads the raw
840:
headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.
82:
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ADs control big crowd extras and make sure if shooting on location none of the public get into shots.
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The sound editor is responsible for assembling and editing all the sound effects in the soundtrack.
1374:, a look that has been created with a grading system, which adjusts brightness, contrast and color.
1034:
993:
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1567:
Additional orchestration people work with the conductor and orchestrator, and edit the film score.
3117:
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1963:
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657:, assists the crew while learning the trade of the camera assistant, operator or cinematographer.
370:
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153:
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The dialogue editor is responsible for assembling and editing all the dialog in the soundtrack.
1207:) that create optical illusions during live-action shooting. It is not to be confused with the
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The leadman (or leadperson) is the foreman of the set dressing crew, often referred to as the
500:
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306:
1113:
A costume technician who fits or tailors costumes, usually on set. They might also be called
219:, and producers) who begin their involvement during the project's development stage, and the
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for art direction is given jointly to both the production designer and the set decorator.
450:
filming. A location production assistant is what a set production assistant is in Canada.
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department, which adds photographic effects during filming to be altered later during
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Matte painters draw and paint entire sets or extend portions of an existing set.
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capacity, they manage the workflow and act as the foreman of the drawing office.
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1696:"Sound Branch 'Production Sound' Ratecard (Published January 2016) – BECTU"
273:
accounting staff and sometimes the locations manager and their assistants.
17:
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Rotoscope and paint artists may rotoscope the footage, manually creating
1364:
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Some actors or actresses have personal makeup artists or hair stylists.
1033:
The propmaster or mistress is in charge of finding and managing all the
2871:
1755:
986:
The head carpenter is the foreman of a gang of carpenters and laborers.
935:
250:. She started as a film editor and designed the first boom microphone.
1806:
Strike the Baby and Kill the Blonde: An Insider's Guide to Film Slang
475:
1203:
department oversees the mechanical effects (also called physical or
627:
The second assistant camera, 2nd AC or clapper loader, operates the
562:
1905:
1274:
1252:
561:
539:
233:
165:
1506:, negotiating the use rights for all source music used in a film.
992:
The propmaker (prop fabricator), as the name implies, builds the
3092:
176:, as the producers are the ones who own a portion of either the
2618:
1987:
1892:
1849:
172:
for characters in the film. The crew is also separate from the
188:. Film crew positions have evolved over the years, spurred by
43:
27:
Group of people involved in some phase of the making of a film
2614:
757:. They are also used to manoeuver the cameras around the set.
1726:"On-set deaths from prop guns are rare – but not unheard of"
1604:
However, since the turn of the 21st century, modern
741:
International Alliance of Theatrical Stage Employees
3070:
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2503:
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2085:
2063:
2000:
1432:
animations, matte paintings, photographs, and text.
74:. Unsourced material may be challenged and removed.
2192:Cinematographer / director of photography
569:Sherlock Holmes and the Case of the Silk Stocking
1392:and which (if any) should be computer generated.
1312:(2006), which were all Scorsese-directed films.
2630:
1861:
8:
1512:The composer is responsible for writing the
1152:Special make-up effects artist (SFX makeup)
1078:, although this term is used less and less.
2877:
2637:
2623:
2615:
2538:
2147:
2060:
1997:
1984:
1889:
1868:
1854:
1846:
1370:A telecine colorist is responsible for a
242:had a successful career that spanned the
226:involved only with the production stage.
134:Learn how and when to remove this message
548:filming a scene from the Hollywood film
1665:
164:, as the cast are understood to be the
1752:"Art of Roto (compositing and paint)"
944:. They also assist the set decorator.
168:who appear in front of the camera or
160:. The crew is distinguished from the
7:
1719:
1717:
774:The grip in charge of operating the
678:Motion control technician / Operator
72:adding citations to reliable sources
566:Production of the television film
158:producing a film or motion picture
25:
1750:Silverman, Matt (June 15, 2004).
1724:Diaz, Jaclyn (October 22, 2021).
1015:Head of the Plastering Department
152:is a group of people, hired by a
3130:
1829:Hollywood 101: The Film Industry
1654:Glossary of motion picture terms
1623:
1396:Visual effects creative director
48:
1676:. Socialbilitty. March 16, 2014
59:needs additional citations for
37:For the 2020 viral video, see
1:
1282:, a frequent collaborator on
446:Location production assistant
1294:and has won three times—for
337:Assistant production manager
182:intellectual property rights
1787:The Film Encyclopedia (5ed)
681:This technician operates a
646:Camera production assistant
3183:
2566:Computer-generated imagery
2371:Special effects supervisor
2219:Digital imaging technician
1326:Post-production supervisor
1286:films, has received eight
1251:Where the film requires a
1224:Special effects supervisor
855:Art (sets and graphic art)
661:Digital imaging technician
424:Assistant location manager
36:
30:For the comedic team, see
29:
3126:
2376:Visual effects supervisor
1996:
1983:
1901:
1888:
1416:review and final editing.
1405:Visual effects supervisor
1232:Special effects assistant
528:Cast Production Assistant
382:Other assistant directors
371:Second assistant director
2296:Utility sound technician
1827:Levy, Frederick (2000).
1674:"Producers Guild Awards"
1564:Additional orchestration
1255:and involves the use of
972:Construction coordinator
362:First assistant director
2596:Unit still photographer
2281:Director of audiography
2010:Unit production manager
1438:artists / Paint artists
1388:Visual effects producer
623:Second assistant camera
582:Director of photography
470:unit still photographer
211:personnel (such as the
3157:Filmmaking occupations
2286:Production sound mixer
2015:Production coordinator
1785:Katz, Ephraim (2005).
1542:Score recorder / mixer
1313:
1148:The Key make-up Artist
879:Assistant art director
815:Second assistant sound
793:Production sound mixer
614:First assistant camera
577:
559:
353:Production coordinator
322:Production managements
251:
2845:Principal photography
2556:Visual effects editor
2551:VFX creative director
2020:Production accountant
1831:. Renaissance Books.
1762:on September 18, 2010
1599:traditional animation
1412:Visual effects editor
1278:
1046:Any film that uses a
565:
543:
397:Production accountant
237:
201:principal photography
156:, for the purpose of
39:The Film Crew (video)
3083:Guerrilla filmmaking
3057:Digital distribution
3000:Digital intermediate
2840:Cinematic techniques
2475:Intimacy coordinator
2045:Production assistant
1606:3D computer graphics
1359:digital intermediate
978:construction manager
872:Standby art director
485:System administrator
403:Hollywood accounting
313:Production assistant
190:technological change
68:improve this article
2805:Production schedule
2239:Lighting technician
2095:Production designer
1804:Knox, Dave (2005).
1076:wardrobe supervisor
845:Production designer
720:Lighting technician
536:Camera and Lighting
3118:First-dollar gross
2533:Technical director
2306:Re-recording mixer
2035:Script coordinator
2025:Assistant director
1964:Executive producer
1810:Three Rivers Press
1610:computer animation
1504:recording industry
1489:Re-recording mixer
1314:
1280:Thelma Schoonmaker
1162:Make-up supervisor
1070:Costume supervisor
1056:Costume department
683:motion control rig
578:
560:
439:Location assistant
328:Production manager
285:Executive producer
252:
154:production company
3144:
3143:
2934:
2933:
2810:Shooting schedule
2612:
2611:
2608:
2607:
2604:
2603:
2579:
2578:
2470:Acting instructor
2445:Movement director
2234:Best boy electric
2178:
2177:
2081:
2080:
2073:Storyboard artist
2030:Script supervisor
1979:
1978:
1549:Music preparation
1292:Best Film Editing
1247:Stunt coordinator
1205:practical effects
554:(1950), starring
501:Script supervisor
307:production budget
295:Production office
144:
143:
136:
118:
16:(Redirected from
3174:
3135:
3134:
3133:
3088:Development hell
3018:Film distributor
2921:Costume designer
2898:Daily production
2878:
2872:Dailies (rushes)
2867:Daily call sheet
2795:Production board
2756:Script breakdown
2639:
2632:
2625:
2616:
2539:
2343:Music supervisor
2148:
2107:Costume designer
2061:
2050:Location manager
2040:Casting director
1998:
1985:
1921:Supporting actor
1890:
1870:
1863:
1856:
1847:
1842:
1823:
1800:
1772:
1771:
1769:
1767:
1758:. Archived from
1747:
1741:
1740:
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1736:
1721:
1712:
1711:
1709:
1707:
1698:. Archived from
1692:
1686:
1685:
1683:
1681:
1670:
1633:
1628:
1627:
1626:
1577:Previsualization
1572:Previsualization
1497:Music supervisor
1290:nominations for
1257:stunt performers
1139:Make-up Designer
1130:Hair and make-up
1094:Breakdown artist
1062:Costume designer
787:Sound Production
688:Set photographer
521:Casting director
464:Social publicist
416:Location manager
139:
132:
128:
125:
119:
117:
76:
52:
44:
21:
3182:
3181:
3177:
3176:
3175:
3173:
3172:
3171:
3147:
3146:
3145:
3140:
3137:Film portal
3131:
3129:
3122:
3066:
3062:Streaming media
3004:
2978:Special effects
2940:Post-production
2930:
2876:
2821:
2800:Day out of days
2768:Shooting script
2742:
2699:film adaptation
2648:
2643:
2613:
2600:
2575:
2537:
2505:Post-production
2499:
2490:Stunt performer
2418:
2380:
2363:Special effects
2357:
2301:Dialogue editor
2267:
2197:Camera operator
2174:
2146:
2137:Property master
2087:
2077:
2059:
1992:
1975:
1947:
1931:Character actor
1897:
1884:
1874:
1839:
1826:
1820:
1803:
1797:
1784:
1781:
1779:Further reading
1776:
1775:
1765:
1763:
1749:
1748:
1744:
1734:
1732:
1723:
1722:
1715:
1705:
1703:
1702:on June 3, 2016
1694:
1693:
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1679:
1677:
1672:
1671:
1667:
1662:
1649:Production team
1644:Outline of film
1629:
1624:
1622:
1619:
1589:
1574:
1473:Dialogue editor
1460:
1458:Sound and music
1381:
1341:Negative cutter
1337:
1284:Martin Scorsese
1273:
1271:Post-production
1243:
1217:post-production
1200:special effects
1195:
1193:Special effects
1132:
1087:Costume standby
1058:
1025:
1003:
969:
905:
857:
831:
789:
732:
698:
649:The camera PA,
605:Camera operator
601:
592:cinematographer
556:Charlton Heston
546:camera operator
538:
517:
497:
457:
455:Digital service
412:
393:
324:
297:
265:
232:
205:post-production
140:
129:
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77:
75:
65:
53:
42:
35:
28:
23:
22:
15:
12:
11:
5:
3180:
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3169:
3164:
3162:Cinematography
3159:
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3120:
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2926:Make-up artist
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2910:
2905:
2900:
2895:
2890:
2888:Film inventory
2884:
2882:
2875:
2874:
2869:
2864:
2863:
2862:
2857:
2852:
2850:Cinematography
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2763:
2752:
2750:
2748:Pre-production
2744:
2743:
2741:
2740:
2735:
2730:
2729:
2728:
2718:
2716:Film budgeting
2713:
2712:
2711:
2706:
2701:
2696:
2691:
2681:
2676:
2675:
2674:
2664:
2662:Film treatment
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2563:
2558:
2553:
2547:
2545:
2543:Visual effects
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2399:Visual effects
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2207:Clapper loader
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2179:
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2156:
2154:
2145:
2144:
2142:Weapons master
2139:
2134:
2129:
2124:
2122:Make-up artist
2119:
2114:
2109:
2104:
2103:
2102:
2091:
2089:
2083:
2082:
2079:
2078:
2076:
2075:
2069:
2067:
2058:
2057:
2055:Location scout
2052:
2047:
2042:
2037:
2032:
2027:
2022:
2017:
2012:
2006:
2004:
2002:Pre-production
1994:
1993:
1990:Below the line
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1966:
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1895:Above the line
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1713:
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1641:
1639:Cinematography
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1510:
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1464:Sound designer
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1379:Visual effects
1377:
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1375:
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1209:visual effects
1194:
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1189:
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1183:
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1170:Make-up artist
1167:
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1044:
1042:Weapons master
1039:
1031:
1024:
1021:
1020:
1019:
1016:
1013:
1009:
1002:
999:
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997:
990:
987:
984:
983:Head carpenter
981:
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893:Graphic artist
890:
887:
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877:
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866:
856:
853:
852:
851:
847:
836:art department
830:
829:Art department
827:
826:
825:
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804:
799:
795:
788:
785:
784:
783:
776:camera dollies
772:
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655:camera trainee
647:
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640:
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616:
611:
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584:
574:Somerset House
537:
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432:Location scout
429:
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389:
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296:
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287:
282:
278:
264:
261:
240:Dorothy Arzner
238:Film director
231:
228:
224:technical crew
221:below-the-line
209:above-the-line
197:pre-production
180:or the film's
170:provide voices
142:
141:
56:
54:
47:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3179:
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3119:
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3103:Film industry
3101:
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3007:
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2995:Negative cost
2993:
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2881:Daily reports
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2738:Working title
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2476:
2473:
2471:
2468:
2466:
2463:
2461:
2458:
2456:
2453:
2451:
2450:Choreographer
2448:
2446:
2443:
2441:
2440:Dialect coach
2438:
2436:
2433:
2431:
2428:
2427:
2425:
2421:
2415:
2414:Layout artist
2412:
2410:
2407:
2405:
2402:
2400:
2397:
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2317:
2314:
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2309:
2307:
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2299:
2297:
2294:
2292:
2291:Boom operator
2289:
2287:
2284:
2282:
2279:
2278:
2276:
2274:
2270:
2262:
2259:
2257:
2254:
2252:
2251:Best boy grip
2249:
2248:
2247:
2244:
2240:
2237:
2235:
2232:
2231:
2230:
2227:
2225:
2222:
2220:
2217:
2213:
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2208:
2205:
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2200:
2199:
2198:
2195:
2193:
2190:
2189:
2187:
2185:
2181:
2171:
2170:Scenic design
2168:
2166:
2163:
2161:
2160:Matte painter
2158:
2157:
2155:
2153:
2149:
2143:
2140:
2138:
2135:
2133:
2130:
2128:
2127:Set decorator
2125:
2123:
2120:
2118:
2115:
2113:
2110:
2108:
2105:
2101:
2098:
2097:
2096:
2093:
2092:
2090:
2084:
2074:
2071:
2070:
2068:
2066:
2062:
2056:
2053:
2051:
2048:
2046:
2043:
2041:
2038:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2016:
2013:
2011:
2008:
2007:
2005:
2003:
1999:
1995:
1991:
1986:
1982:
1970:
1969:Line producer
1967:
1965:
1962:
1961:
1960:
1959:Film producer
1957:
1955:
1952:
1950:
1949:Film director
1946:
1942:
1939:
1937:
1934:
1932:
1929:
1927:
1926:Ensemble cast
1924:
1922:
1919:
1917:
1916:Leading actor
1914:
1912:
1909:
1908:
1907:
1904:
1903:
1900:
1896:
1891:
1887:
1882:
1878:
1871:
1866:
1864:
1859:
1857:
1852:
1851:
1848:
1840:
1838:1-58063-123-1
1834:
1830:
1825:
1821:
1819:1-4000-9759-2
1815:
1811:
1807:
1802:
1798:
1796:0-06-074214-3
1792:
1788:
1783:
1782:
1778:
1766:September 19,
1761:
1757:
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1746:
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1714:
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1621:
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1614:
1611:
1607:
1602:
1600:
1595:
1594:
1586:
1584:
1582:
1581:storyboarding
1578:
1571:
1566:
1563:
1560:
1558:
1555:
1552:
1550:
1547:
1544:
1541:
1537:
1535:
1531:
1528:
1523:
1521:
1518:
1515:
1514:musical score
1511:
1508:
1505:
1500:
1498:
1495:
1492:
1490:
1487:
1484:
1482:
1479:
1476:
1474:
1471:
1467:
1465:
1462:
1461:
1457:
1452:
1450:
1449:Matte painter
1447:
1444:
1440:
1437:
1434:
1431:
1427:
1423:
1421:
1418:
1414:
1411:
1408:
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1403:
1399:
1397:
1394:
1390:
1387:
1386:
1385:
1378:
1373:
1369:
1366:
1363:
1360:
1356:
1355:photochemical
1352:
1350:
1347:
1344:
1342:
1339:
1338:
1334:
1328:
1325:
1321:
1319:
1316:
1315:
1311:
1310:
1305:
1304:
1299:
1298:
1293:
1289:
1288:Academy Award
1285:
1281:
1277:
1270:
1264:
1261:
1258:
1254:
1250:
1248:
1245:
1244:
1240:
1234:
1231:
1227:
1225:
1222:
1221:
1220:
1218:
1214:
1213:video editing
1210:
1206:
1202:
1201:
1192:
1187:
1184:
1181:
1179:
1176:
1173:
1171:
1168:
1164:
1161:
1158:
1154:
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1140:
1137:
1136:
1135:
1129:
1124:
1120:
1116:
1112:
1109:
1106:
1102:
1100:Costume buyer
1099:
1096:
1093:
1089:
1086:
1083:
1080:
1077:
1072:
1069:
1065:
1063:
1060:
1059:
1055:
1049:
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1036:
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1027:
1026:
1022:
1017:
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1008:
1005:
1004:
1000:
995:
991:
988:
985:
982:
979:
974:
971:
970:
966:
960:
958:
955:
951:
949:
946:
943:
939:
937:
934:
931:
928:
925:
924:Academy Award
920:
918:
917:Set decorator
915:
912:
910:
907:
906:
902:
896:
894:
891:
888:
885:
881:
878:
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871:
867:
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848:
846:
843:
842:
841:
838:
837:
828:
823:
818:
816:
813:
810:
805:
803:
802:Boom operator
800:
796:
794:
791:
790:
786:
781:
780:camera cranes
777:
773:
771:
768:
765:
762:
759:
756:
751:
749:
746:
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742:
738:
729:
724:
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699:
695:
690:
687:
684:
680:
677:
674:
671:
668:
664:
662:
659:
656:
652:
651:camera intern
648:
645:
641:
638:
634:
630:
626:
624:
621:
617:
615:
612:
608:
606:
603:
602:
598:
593:
589:
585:
583:
580:
579:
575:
571:
570:
564:
557:
553:
552:
551:Julius Caesar
547:
542:
535:
530:
527:
524:
522:
519:
518:
514:
509:
504:
502:
499:
498:
494:
488:
486:
483:
479:
477:
476:Legal counsel
474:
471:
467:
465:
462:
461:
460:
454:
448:
445:
441:
438:
435:
433:
430:
426:
423:
419:
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369:
365:
363:
360:
356:
354:
351:
348:
346:
343:
340:
338:
335:
331:
329:
326:
325:
321:
316:
314:
311:
308:
304:
302:
301:Line producer
299:
298:
294:
288:
286:
283:
279:
276:
275:
274:
271:
270:
262:
260:
256:
249:
245:
241:
236:
229:
227:
225:
222:
218:
214:
210:
206:
202:
198:
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191:
187:
183:
179:
175:
171:
167:
163:
159:
155:
151:
146:
138:
135:
127:
124:December 2009
116:
113:
109:
106:
102:
99:
95:
92:
88:
85: –
84:
80:
79:Find sources:
73:
69:
63:
62:
57:This article
55:
51:
46:
45:
40:
33:
32:The Film Crew
19:
3128:
3030:Film release
3010:Distribution
2953:Re-recording
2948:Film editing
2860:Videographer
2834:
2721:Film finance
2679:Step outline
2518:Sound editor
2485:Stunt double
2480:Stage combat
2460:Talent agent
2430:Acting coach
2353:Orchestrator
2348:Music editor
2311:Foley artist
2202:Focus puller
2100:Art director
1954:Screenwriter
1876:
1828:
1805:
1786:
1764:. Retrieved
1760:the original
1745:
1733:. Retrieved
1729:
1704:. Retrieved
1700:the original
1690:
1678:. Retrieved
1668:
1603:
1591:
1590:
1575:
1557:Music editor
1534:Orchestrator
1532:Conductor /
1520:Foley artist
1481:Sound editor
1382:
1371:
1309:The Departed
1307:
1306:(2004), and
1301:
1295:
1198:
1196:
1185:Hair stylist
1133:
1122:
1118:
1114:
1104:
1081:Key costumer
1075:
977:
967:Construction
909:Set designer
864:Art director
858:
834:
832:
733:
654:
650:
629:clapperboard
567:
549:
458:
345:Unit manager
267:
266:
257:
253:
217:screenwriter
194:
149:
147:
145:
130:
121:
111:
104:
97:
90:
78:
66:Please help
61:verification
58:
3108:Film rights
3098:Filmography
2855:Videography
2783:Scenography
2694:spec script
2654:Development
2513:Film editor
2435:Body double
2316:Voice foley
2224:Second unit
2184:Photography
2165:Illustrator
2152:Visual arts
2132:Set dresser
2117:Hairdresser
2086:Production
1941:Cameo actor
1911:Voice actor
1789:. Collins.
1735:October 23,
1680:January 13,
1631:Film portal
1516:for a film.
1318:Film editor
1303:The Aviator
1297:Raging Bull
1157:prosthetics
948:Set dresser
886:Illustrator
737:sound stage
722:/ Electrics
716:technician.
639:Film loader
490:production.
358:production.
244:silent film
178:film studio
83:"Film crew"
18:Camera crew
3167:Filmmaking
3151:Categories
3113:Turnaround
3078:Box office
2963:Soundtrack
2958:Sync sound
2916:Editor log
2893:Production
2827:Production
2773:Storyboard
2733:Greenlight
2684:Screenplay
2672:scriptment
2646:Filmmaking
2591:Swing gang
2561:Compositor
2495:Under-five
2256:Dolly grip
2065:Storyboard
1881:filmmaking
1660:References
1527:Jack Foley
1420:Compositor
1119:seamstress
1029:Propmaster
1007:Key scenic
942:swing gang
770:Dolly grip
712:(electric)
633:film stock
576:in London.
572:(2004) at
495:Continuity
391:Accounting
269:Production
263:Production
186:production
94:newspapers
2835:Film crew
2815:one-liner
2788:Rehearsal
2571:Rendering
2386:Animation
2333:Subtitles
2212:Steadicam
2112:Greensman
1936:Bit actor
1877:Film crew
1593:Animation
1587:Animation
1436:Rotoscope
1428:imagery,
1335:Editorial
1262:Set Medic
1219:process.
1091:dressing.
989:Propmaker
957:Greensman
670:Steadicam
610:combined.
590:The term
481:location.
410:Locations
246:era into
174:producers
150:film crew
3052:Roadshow
2968:Timecode
2903:Progress
2667:Producer
2528:Animator
2523:Colorist
2465:Stand-in
2404:Modeling
2394:Animator
2338:Composer
2246:Key grip
1617:See also
1509:Composer
1367:colorist
1365:Telecine
1349:Colorist
1300:(1980),
1178:Key hair
1048:prop gun
1023:Property
809:perchman
761:Best boy
755:blocking
748:Key grip
710:Best boy
696:Lighting
672:operator
508:blocking
277:Producer
230:Director
213:director
3071:Related
3045:delayed
3040:limited
2778:Casting
2761:process
2689:process
2409:Rigging
2323:Dubbing
1756:Fxguide
1469:liking.
1401:scenes.
1353:With a
1236:stunts.
1215:in the
1105:shopper
936:Leadman
619:loaded.
515:Casting
248:talkies
108:scholar
2988:visual
2709:Option
2423:Talent
2229:Gaffer
2088:design
1835:
1816:
1793:
1706:May 8,
1539:score.
1443:mattes
1241:Stunts
1229:magic.
1123:tailor
1115:fitter
1110:Cutter
1001:Scenic
763:(grip)
702:Gaffer
599:Camera
377:extras
203:, and
166:actors
110:
103:
96:
89:
81:
2983:sound
2973:Music
2908:Sound
2726:pitch
2584:Other
2455:Extra
2273:Sound
1906:Actor
1372:grade
1253:stunt
1121:, or
1035:props
994:props
929:Buyer
850:film.
822:BECTU
115:JSTOR
101:books
3093:Film
3035:wide
3023:list
2912:Cost
2704:Hook
2261:Grip
1833:ISBN
1814:ISBN
1791:ISBN
1768:2010
1737:2021
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