The Membership Committee is researching job titles and descriptions in our industry as they pertain to our Roster. The ultimate goal is open-ended but initially will be used internally by the Committee to establish a baseline to assist in placing new and advancing members on our Roster.
Additionally, it may serve as an opportunity for members to gain further insight into what other departments do on a production, and, it is hoped that such a document might prove useful to future clients, or others in our industry wishing a clearer understanding of what our production crews are responsible for and what we as a Local can provide. To that end we have researched a number of sources and arrived at what we feel is a reasonable composite for an initial set of definitions. This list is largely from the work of Lisa C. Peterson, an instructor with
the University of Central Florida, Orlando and Wikipedia.
This is a first step only. We expect that there may be modifications, additions, or perhaps complete changes before a final draft. We the Membership Committee invite and encourage you to look over the following descriptions and provide us with feedback, particularly with relevance to your department. Since this is OUR list, if you feel a different description would be better, or something missing should be added please submit it to us for consideration. Nothing herein is set in stone and our descriptions should reflect what WE do.
The positions listed at the top of each section reflect the job titles currently shown on our Roster.
Principal descriptions will be in regular text; while Wikipedia descriptions will be indented and in italics. If a description has a possible alternative title, we have listed the original first followed by the alternative. If no reasonable definition was found for a position as it related to our industry, it has been left blank. In these cases especially, we encourage you to submit a definition/description.
Thank you for your time, consideration, and feedback. We look forward to your responses.
Production Office Coordinator
Asst. Production Office Coordinator
Assistant Locations Manager
PRODUCTION OFFICE CO-ORDINATOR
The duties of the Production Office Coordinator include: the setting up and closing down of the Production Office and includes ordering of furniture, equipment and supplies; preparation and distribution of shooting schedules, crew and cast lists, call sheets, production reports, movement orders and the distribution of scripts and script revisions; the coordination of all travel, accommodation, work permits, visas, medical examinations and immunizations for principal crew and cast, to conform with Company insurance and foreign travel requirements; the ordering, importing and exporting of equipment and booking of personnel as directed by the Production Manager; the pick-up and delivery of equipment and personnel, in conjunction with the Driver Captain; the shipment of film and sound tape to and from the laboratory on distant locations.
ASSISTANT PRODUCTION OFFICE CO-ORDINATOR
The First Assistant must be able to perform such of those functions as described under the
Production Office Category as are delegated to them. In the absence of the Production Office Coordinator, the First Assistant shall assume the full responsibility of the same, including the care and maintenance of the Production Office.
The duties of the Script Supervisor include the preparation of the script; verification of artist's lines; keeps records of timing, may run lines; assists during blocking of scenes; notes deviations from the script; keeps detailed notes of all action, positions, camera angles, additional progression; times takes; furnishes camera and sound with slate numbers and prints; may project if picture is long or short; notes coverage of sequences; may prepare lists of pickup shots and wild sound tracks; and, as a courtesy to the Camera Department may note lenses, focal length and zoom operations; makes continuity notes along with a complete lined script, and any appendices, and forwards to the Supervising Editor and/or Editor after the day's shooting; provides the Production Office with a daily report as to the number of setups, picture time, scenes and pages shot and cumulative time to be prepared once daily at the end of the production day.
Oversees the locations department and its staff, typically reporting directly to the production manager and/or assistant director (or even director and/or executive producer). Location manager is responsible for final clearing (or guaranteeing permission to use) a location for filming and must often assist production and finance departments in maintaining budget management regarding actual location/permit fees as well as labor costs to production for himself and the locations department at large.
ASSISTANT LOCATION MANAGER
Works with the location manager and the various departments in arranging technical scouts for the essential staff (grips, electric, camera, etc.) to see options which the location manager has selected for filming. The assistant location manager will be onset during the filming process to oversee the operation, whereas the location manager continues pre-production from elsewhere (generally an office) on the upcoming locations. (Note: 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.)
Set Designer Lead Scenic
The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.
KEY SCENIC (Lead Scenic?)
The key scenic artist 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 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
PAINT CO-ORDINATOR (PAINT FORMAN?)
The duties of the Paint Co-ordinator shall include the supervision and organization of the painting of sets, parts of sets, props, back-drops, cutouts, etc.; all painting of permanent buildings and stages, including scenic painting mattes, illustrations, signs and graphic cards; responsible for purchasing and procuring of necessary materials and equipment; disbursement of assigned budget; may delegate work required for the efficient running of the Department. The Paint Co-ordinator shall be selected by the Production Designer and/or Art Director, and the Paint Co-ordinator shall be responsible to same. The Paint Co-ordinator shall be able to perform the functions of all subsequent categories with the exception of sign painting.
SCENIC PAINTER (Not currently on our Roster but may warrant inclusion?)
Shall be able to perform the duties of a Painter and be responsible for specialty finishes such as wood grain, marble, age, breakdown, and other faux finishes under the direction of the Paint Co-ordinator.
PAINTER (SET PAINTER?)
The duties of the Painter shall be to carry out, without direct supervision and to the satisfaction of the Paint Co-ordinator, sanding, filling, sealing, priming, undercoating, spray painting, plastering, faux cement, painting and varnishing of sets, props, permanent buildings, interior and exterior, both in the studio and on location.
SIGN PAINTER / FABRICATOR (Signwriter?)
The Sign Painter / Fabricator duties include the preparation, layout, and painting of all signs, under the direction of the Paint Co-ordinator.
Prop Maker/Set Construction
Art Department Coordinator. . . .(maybe this should be under Art Department?) Welder
The duties of the Construction Co-ordinator shall include the co-ordination of all work in conjunction with the manufacture and building of sets, parts of sets, cutouts, scenic frames parallels and platforms and all carpentry work on stages and permanent building connected with the production, including buildings or other structures used as locations materials and tools necessary for the building of same; responsibility for disbursement of the assigned budget; delegation of work required for the efficient operation of the Construction Department.
The Construction Foreman must be able to perform those functions as heretofore described, and must be able to assume all responsibilities in the event of the absence of the Construction Co-ordinator.
The duties of the Lead Carpenter shall be to, in a general way, oversee and maintain construction techniques and standards as deemed appropriate by the Co-ordinator/ Foreman, and expedite work to accommodate scheduling.
The duties of the Scenic Carpenter shall be to construct and manufacture settings or parts of settings including interiors and exteriors in the studio or on location, as assigned by the Construction Co-ordinator or Construction Foreman. The Scenic Carpenter shall be able to perform these tasks without direct supervision.
MODEL MAKER (MODEL BUILDER?)
To produce and reproduce models at scale, to the degree of technical accuracy required; in close conjunction with the Art Department under the direct supervision of the Co-ordinator.
ART DIRECTOR (HEAD OF DEPARTMENT) (ART DEPARTMENT COORDINATOR?)
The Art Director shall work closely with the Production Designer and shall perform such of
those functions described above (SEE BELOW) as are delegated by the Production Designer. In the absence
of the Production Designer, he/she shall assume the full responsibilities of same. The duties of the Art Director shall include the making of sketches and drawings for the amplification and clarification of the Production Designer's concept, the selection of locations subject to approval of the Production Designer and Director, the hiring, delegation and co-ordination of all persons engaged in the preparation of working drawings, detail drawings, lay-outs and designs of any kind for use in the construction, painting, or decorating of sets, set models or backgrounds; responsibility for disbursement of assigned budgets; dressing of interior and exterior sets and locations, including props and special effects. The Art Director may assist the Producer in the formulation of the Art Department budget. The Art Director is the Head of Department. It shall be the Art Director's responsibility to co-ordinate the execution of such concepts with all departments to insure continuity of design throughout the production.
The duties of the Production Designer shall include the preparation of sketches, designs, drawings, plans or sketch plans for motion picture sets and/or backgrounds, and the selection of locations for the approval of the Producer and Director, and for the guidance of the Art Director, regardless of whether such productions are made in studios or on location. In consultation with the Producer and Director, the Production Designer shall assist the Producer in the formulation of the budget.
Set Decorator/Commercial Art Director
On Set Dresser
Set Decoration Buyer
SET DECORATOR (COMMERCIAL ART DIRECTOR?)
The Set Decorator is responsible to the Production Designer/Art Director for the coordination and realization of: the dressing of all studio and location sets, interior and exterior; the research, purchase, rental, leasing or acquisition of all items and materials used as set decor; the carriage, movement, placement and preparation of all dressings within all studio and/or location sets; the maintenance, replacement and listing of inventory; monitoring the dispersal of the assigned Set Decorating budget; delegation of work for the efficient operation of the department; the completing of decorated sets, camera ready, prior to the requirements of the production schedule.
The lead man (or leadsman) is the foreman of the set dressing crew, often referred to as the swing gang. They also assist the set decorator.
The On-Set Dresser is responsible to the Decorator and Propsmaster for on-set continuity of Set Dressing and the placement of all set dressing on set.
1. CONTINUITY- Placement and replacement of all set dressing for camera.
2. SAFETY - Care, safety and cleaning of all set dressing pieces.
3. INTEGRITY - To place and replace all set dressing as per the Set Decorator, Propsmaster,Script Supervisor and Camera Department.
4. CAMERA - To have a clear knowledge of camera lenses so that he or she can anticipate theshot.
5. POLICE - Must police the set to prevent damage to all set dressing.
6. PLANTS - Responsible for the care and watering of all indoor plants and floralarrangements.
The On-Set Dresser is responsible for a full tool and hardware package, flat dolly, truck dolly, blanket, packing material, cleaning kit, ladders and Polaroid camera.
SET DRESSER (SWING GANG)
The Set Dresser is responsible to the Set Decorator. In the absence of the Set Decorator, or if otherwise required, is responsible to the Assistant Set Decorator or Buyer or lead Dresser.. According to their instructions, the Set Dresser may assist in: the safe and efficient pick-up and return of all items and materials used as set decor; the carriage, movement, placement and preparation of all dressings within all studio and/or location sets; the maintenance, replacement and listing of inventory. The Set Dresser should be able to perform these tasks without direct supervision.
The Set Buyer is responsible to the Set Decorator. Under supervision of the Set Decorator, the Set Buyer may purchase, lease or acquire items to be used as decor for all studio and location sets.
Asst. Property Master
The duties of the Property Master shall include preparation of a hand prop breakdown, with scene allocations as per the shooting script; to research the historical period of said administered hand props; to prepare, build and procure props to be seen on camera; the repair and return of props to original condition and source; arranging for all necessary permits to convey restricted weapons; coordinate with the Wardrobe Department the required accessories; while on set, the Prop Master will administer props to artists, strike and reset hot sets established by the Set Decorators, with the aid of polaroids, photographs or sketches; consult with the Script Supervisor on the continuity of hand props; responsible for the disbursement of the assigned budget; and delegate the work required for the efficient operation of the Department.
ASSISTANT PROPERTY MASTER
Duties: Acts as the Prop Masters representative on the set; during preproduction helps with script and prop breakdown; in the Prop Masters absence this person can be left in charge of the props on shooting set; makes sure that the set and props are as the Props Master wishes them to be; oversees the supplying and loading of the truck; has the ability to oversee the set and props in a camera ready condition; has the ability to oversee the set and prop continuity; and can perform these duties in an unsupervised role. Additionally, this person must hold a valid Firearms Acquisition Certificate; carry the Motion Picture Firearms Safety Course card; be knowledgeable in the building and repair of props; be knowledgeable in the handling of firearms; the safe use of firearms and the blank firing of firearms; and carries the same responsibilities for the safety of artists and shooting crew when it comes to the firing of blanks as the Props Master.
Performs those duties as delegated by the Property Master.
PROPMAKER (PROPERTY FABRICATOR?)
The propmaker, as the name implies, builds the props 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.
HEAD GREENSPERSON (KEY GREENSPERSON?)
Responsible to the Production Designer/Art Director for the co-ordinating and realization of all exterior/interior exteriors including: research, acquisition, site preparation and safety; as applies to terraforming, scaling, falling of trees, drainage, operation of heavy equipment, spreading of all ground covers, natural or man made, and the striking of same; organization and delegation of work within the Greens Department.
Perform those duties as delegated by the Head Greens person or Best Person/Leadperson.
SPECIAL EFFECTS CO-ORDINATOR (KEY FX?)
The duties of the Special Effects Coordinator shall include responsibility for supervision, manufacture, setting up, operating, striking and storing of all equipment and material used in making special effects, artificial atmospheric effects, window frosting, frost, fire, smoke, flames, torches of all kinds, fog, steam, mist, water, waterfalls, portable spill tanks, storms of every nature, waves, cobwebs, mechanical effects, electrical effects and explosives. All powder or explosives shall be handled and supervised only by a licensed Special Effects Person. The method and type of application of special effects shall be at the sole discretion of the Special Effects Coordinator taking into account the artistic requirements of the Production Designer or Art Director. The Coordinator shall disburse the departmental budget and he may delegate work within the department.
FIRST ASSISTANT SPECIAL EFFECTS (SPECIAL FX?)
The duties of the First Assistant Special Effects shall include such of those responsibilities above as shall be delegated by the Special Effects Coordinator.
WEAPONS MASTER (WEAPONS TECH?)
The weapons master, or armorer, is a specialized prop technician who deals with firearms. In most jurisdictions this requires special training and licenses.
Key Make-up Artist
Special FX Make-up
KEY MAKE-UP ARTIST
The responsibilities of the Key Make-Up Artist shall include: the design of all make-ups and facial hair (in consultation with the Director and Production Designer) ; the application, or dissemination of responsibility for the application, of all facial/body Make-Up and hair; the maintenance of all said make-ups and their alteration throughout the shooting period; the removal of all said Make-Up and hair products; the control and recording of all continuity with regards to all facial and body Make-Up, by the use of sketches, notes, photographs and charts; the supervision of all assistant Make-Up artists, and the delegation of their work; the supply, and when required, the purchase of all necessary materials and equipment, etc., and the distribution of the show's Make-Up budget. The Key Make-Up Artist shall also be responsible for any and all out-of-kit effects, such as cuts, wounds, blisters, scratches, bullet holes, scars, tattoos, bald head, bites, birthmarks, bruises, blood application, disfigurements, etc. Also included in this job description is the
application, coloration, maintenance and removal of all prosthetic make-ups and appliances,
(i.e. those made from foamed latex, gelatine, plastic, etc.)
NOTE: A Key Make-Up Artist may be hired to perform these last listed functions alone, as this position is by NO MEANS exclusive from the duties of the Key Make-Up Artist. In the event that contact lenses are required for a production, it is not the Key Make-Up Artist's responsibility for the application and maintenance of said lenses. A licensed eye specialist is to be present for the application, maintenance and removal of the lenses on set - particularly with the use of scleral lenses and other potentially harmful eye appliances. A Key Make-Up Artist may however accept the responsibility for the design and ordering of contact lenses.
FIRST ASSISTANT MAKE-UP ARTIST (MAKE-UP ARTIST?)
The First Assistant must be able to perform such of those functions as described under the
"Key Make-Up Artist" category, as are delegated to them. In the absence of the Key Make-Up Artist, the First Assistant shall assume the full responsibilities of the same; including the care and maintenance of all continuity notes and special make-ups. The First Assistant shall at all times be prepared with a fully equipped kit.
SPECIAL EFFECTS MAKEUP ARTIST
The responsibilities of the Special Effects Make-up Artist shall include: initial consultation for and design of; construction of; and on-set application and/or manipulation of; all facial/body prosthetics; duplicate heads, body parts, (where a likeness is required) articulated "puppets", artificial teeth, facial/body hair and any other special make-up effect not normally the responsibility of the Key Make-up Artist. Also included in this job description is the removal of all special make-ups, their cleaning and storage; the control and recording of all continuity of any special make-ups by the use of sketches, notes, photographs and charts; the supervision of all Assistant Special Effects Make-up Artists and lab technicians/moldmakers, and the delegation of their work, the supply and purchasing of all necessary materials and equipment, etc. and the distribution of a show's special effects make-up budget.
Key Hair Stlyist
KEY HAIR (KEY HAIR STYLIST?)
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.
The duties of the Hairstylist shall include the breaking down of the script to ascertain hair requirements; discussion with the Producer, Director and Production Designer regarding same; procuring, maintenance and styling of wigs and hair pieces; cutting, styling and colouring of Artist's hair on productions where hair or wigs are part of that production and shall include, but not be limited to, procuring, maintaining and return of any and all hairdressing equipment required; continuity of hair styling throughout the production by means of sketches, charts, notes and photographs; and the delegation of work to assistants, as required.
Key Set Costumer
Set Costumer Seamstress
Costume Dyeing and Ageing
Duties: Script breakdown and costume plot. Drawing up the budget and dispersing allocated funds as required. Maintaining accurate financial records. Selects and procures all materials, costumes and accessories for costumes. Clarifies and assigns duties to Costume Department personnel. Decides on the visual look of the wardrobe in conjunction with the Producer, Director, Production Designer, Art Director and/or the Director of Photography.
ASST COSTUME DESIGNER/DEPARTMENT CO-ORDINATOR
Duties: Assists the Costume Designer. Coordinates the hiring of personnel, and their schedules and approves departmental time sheets; does script and costume breakdowns; assists in drawing up the department budget; does needed costume research; organizes work and storage areas and handles inventory of costumes, supplies and equipment; supervises set up and wrap; supervises the workshop and co-ordinates the scheduling of fittings; arranges for the rental of equipment and of costumes; acts as principal shopper or buyer in close association with the Costume Designer; may select and organize costumes for secondary players and extras with approval of the Designer; acts as liaison to the set and arranges transportation of costumes and supplies to and from the set.
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. Also called the wardrobe supervisor, although this term is used less and less.
KEY SET COSTUMER
Duties: Organizes, supplies and maintains the truck in an orderly fashion; maintains costumes in a camera ready condition including laundry, dry-cleaning, ironing and aging and necessary breakdown as is required; does costume layout and wrap; has a working knowledge of script breakdown and continuity systems; can dress extras; assists set supervisor on set when required; can supervise the set when required, not to replace the Set Supervisor. Where no Prep Costumer is required, the Set Costumer may assume those duties.
Duties: The Seamster/Seamstress is responsible for assisting in fittings, alterations and construction of costumes as assigned by the Costume Designer and/or the Cutter.
Duties: The cutter is responsible for making patterns, cutting, fitting and construction of costumes from specific designs or sketches supplied by the Costume Designer. The Cutter may assist in selecting materials and supervise costume construction.
COSTUME DYEING AND AGEING
The duties of the Sound Mixer include the recording, re-recording, dubbing synchronizing and scoring of sound motion pictures on film, video tape, or any other substitute for film. This includes video engineering, development, installation and maintenance of sound and/or video tape equipment. The duties of the Production Sound Mixer include the recording of all sound on location, including principal dialogue, sound effects, wild lines and location music. In conjunction with the Director and the Production Manager determine the necessary type and quantity of sound equipment; the maintenance of log sheets for each roll of tape recorded, including marking printed takes, in conjunction with the Script Supervisor and Camera Assistant; the maintenance of script notes sufficient to allow matching of sound quality in case of later reshooting; the maintenance of lists of wild tracks and sound effects to be recorded later. In conjunction with the Director, the Production Sound Mixer determines the recording techniques and microphone placements to make a suitable recording; attends all production meetings during both Pre-Production and Principal Photography; may delegate work required for the efficient operation of the Sound Department. The duties of the Dubbing and Rerecording Mixer may include responsibility for the quality of all classes of master tracks, dialogue, effects and music; in conjunction with the Film Editor and Sound Editor, assists in the preparation of dubbed tracks for final mixes and the dialogue positioning. Responsibilities also include sound for dailies, music scoring or transcription and post-synchronization recording and coordinating, under the Sound Director, or Director of Sound, all re-recording.
The duties of the Boom Operator include the placement of microphones in suitable positions to ensure proper sound quality in recording; set-up and wrap sound equipment at each location; to be present with the Production Sound Mixer at all block rehearsals unless specifically banned by the Director; in conjunction with the Wardrobe Department, place radio microphones and transmitters on Artists; to be familiar with the shooting script; maintain good liaison with all Artists; and other sound duties.
SOUND ASSISTANT (UTILITY?)
Under the direction of the Production Sound Mixer, in conjunction with the Costume Department, to place radio microphones and transmitters on Artists when required; to assist the boom operator; to be familiar with the shooting script; and to liaise with the Driver Captain for the movement of related equipment.
Best Boy Grip
Rigging Key Grip
The Key Grip, in conjunction with the Director of Photography, will decide on the Grip equipment, rentals and purchases necessary for the production requirements. The Key Grip, under the direction of the Director of Photography, shall organize, and may delegate work within the Grip Department, including the moving and striking of parallels and platforms; the flying, setting up, striking and handling of all stage scenery, sets and parts of sets, including drops, drapes and catwalks.
He shall further delegate the operation and movement of reflector boards, reflective material, colour corrective gels and diffusion equipment; also the operation of camera dollies, cranes, mounts and any other camera or sound mobile equipment.
BEST BOY GRIP
The duties of the Second Grip includes maintenance, servicing and inventory control of all Grip equipment; the loading and unloading of vehicles used in the movement of Grip equipment.
LEADMAN/SETUP (RIGGING KEY GRIP?)
The duties of the Leadman/Setup include the pre-rigging of all stage scenery, sets, parts of sets, etc., under the direction of the Construction Co-ordinator. During Principal Photography the Set-Up crew works under the direction of the Key Grip.
DOLLY OPERATOR (DOLLY GRIP?)
The duties of the Dolly Operator include the moving on set of all camera dollies and cranes and maintenance of same, as directed by the Key Grip. Performs those duties as delegated by the Key Grip.
The Grip shall have a good working knowledge of related equipment and perform his/her duties as directed by the Key Grip.
Best Boy Electrician
Light Board Operator
CHIEF LIGHTING TECHNICIAN (GAFFER?)
The Chief Lighting Technician, with the Director of Photography, will decide on the lighting equipment and purchases necessary for the production requirements. The Chief Lighting Technician shall supply the Director of Photography with necessary foot candles, intensities and lighting ratios as directed; and also for the replacement and/or repair of any burned out or faulty equipment; co-ordinates and assigns responsibilities to the Lighting Department personnel and provides power to the other Production Departments as required.
ASSISTANT CHIEF LIGHTING TECHNICIAN (BEST BOY?)
The Assistant Chief Lighting Technician shall assist the Chief Lighting Technician in the organization and ordering of equipment and the loading of vehicles as used by the Lighting Department; is responsible for having on set all equipment and personnel required and for the running maintenance of all lighting equipment and accessories.
LIGHTING TECHNICIAN (ELECTRICIAN?)
The Lighting Technician shall run power cables and place the Lighting equipment as directed; he/she shall have a good working knowledge of all lighting instruments and distribution systems
SET WIREMAN/SHOP ELECTRIC (Not currently on our Roster but may warrant inclusion?)
The Set Wireman shall be responsible for all practical set wiring; shall be responsible for providing power to departments during Pre-Production; shall be responsible for the installation of on-camera electrical apparatus, including the pre-wiring of all stage scenery, sets, parts of sets, etc.; during Principal Photography, the Set Wireman shall work under the Chief Lighting Technician.
LIGHT BOARD OPERATOR
The Generator Operator shall be responsible for the running, maintenance and operation of the generators or power plants used by the production for all its power requirements; he/she shall correctly balance all loads and insure there is sufficient fuel at all times; is responsible for the safe hook-up of feeder cables to electrical service as needed.
Key Craft Services
Craft services Assistant
KEY CRAFT SERVICES
CRAFT SERVICES ASSISTANT