ANIMAL WRANGLER (IATSE)
Assistant Animal Wrangler
Head Wrangler
ANIMATION (Non-Union)
Animator Trainee
Storyboard Artist
Silicone Mixer (Stop Motion)
Armature Builder (Stop Motion)
Layout Artist/Inker
In-Between Animator
Flash Animatic Assembler
Digital Background Painter
Animator
ART DEPARTMENT (DGC)
Production Designer
Art Director
Assistant Art Director
Graphic Designer
Draftsperson
Art Department Coordinator
Story Board Artist
Art Department Production Assistant
ASSISTANT DIRECTOR (DGC)
1st Assistant Director
2nd Assistant Director
3rd Assistant Director
Training Assistant Director (TAD)
Floor Director
CAMERA (IATSE 669)
Director of Photography/Cinematographer
Camera Operator
Focus Puller
1st Camera Assist
2nd Camera Assist
3rd Camera Assist
Clapper/Loader
Camera Trainee
Steadicam Operator
Videographer
Stills Photographer
Documentary Camera Assistant
Studio Camera Operator
CASTING (Non-Union)
Casting Director
Assistant Casting Director
Extras Casting Director
Casting Assistant
CONSTRUCTION (IATSE)
Construction Labourer
Metal Fabricator Assistant
Maintenance Person
Upholsterer
Construction Buyer
Modeller
Carpenter
Scenic Carpenter
Sculptor
Scenic Metal Fabricator
Lead Metal Fabricator
Journeyman Carpenter
On Set Carpenter
Assistant Head Carpenter
Lead Carpenter
Construction Department Assistant
Head Carpenter
Construction Foreman
Construction Co-ordinator
Painter Assistant
Wallpaper Hanger
Plasterer
Painter
Sign Painter
On-Set Painter
Scenic Artist
Lead Painter
Paint Foreman
Key Scenic Artist
Paint Coordinator
CONTINUITY/SCRIPT SUPERVISOR (IATSE)
Script Supervisor (Continuity)
Assistant Script Supervisor
COSTUME (IATSE)
Costume Assistant
Breakdown Artist
Dresser
Stitcher
First Hand/Senior Stitcher
Seamstress
Tailor/Milner
Costume Buyer
Extras Coordinator
Performers Costumer
Set Truck Costumer
Costumer
Set Supervisor
Cutter
Assistant Costume Designer
Costume Coordinator
Costume Designer
CATERING SERVICES (IATSE)
Assistant Chef
Sous Chef
Head Chef
DIRECTOR (DGC)
Director
Director Observer
Co-Director
2nd Unit Director
Documentary Director
Studio Director
FACS (IATSE)
Craft Services Assistant
EMT-A
First Aid Attendant
1st Assistant Craft Services
Key First Aid/Craft
Coordinator with First Aid
GREENS (IATSE)
Greens Helper
Greensperson
Best Boy Greens
Head Greensperson
GRIPS (IATSE)
Grip Trainee
Grip Crew
Rigging Grip
Lead Grip
Best Boy Rigging Grip
Best Boy Grip
Key Rigging Grip
Dolly Grip
Key Grip
Swing (between Grip & Electric Departments)
HAIR (IATSE)
Hair Assistant
Second Assistant Hair
First Assistant Hair
Key Hair
SPFX/Period Hair
LIGHTING (IATSE)
Electrics Trainee
Lamp Operator
Generator Operator
Set Wireman
Hi-Rigger
Best Boy Electric
Rigging Gaffer
Gaffer
Studio Lighting Director
Studio Assistant Lighting Director
LOCATIONS (DGC)
Location Manager
Assistant Location Manager
Location Scout
Location Security
Location Lock Off
Location Production Assistant
MAKE UP (IATSE)
Makeup Trainee
Second Assistant Makeup
First Assistant Makeup
Special Skills Makeup
Special Effects Make up
Key Makeup
PERFORMERS (ACTRA)
Performer
Announcer
Animation Performer
Singer
Dancer
Model
Stand-In
Narrator
Choreographer
Host
POST PRODUCTION (DGC)
Assistant Editor
File Processing Technician
Documentary Editor
First Assistant Picture Editor
Visual Effects Editor/Technician
Picture Editor
Supervising Picture Editor
Music/Sound Editor
Graphic Artist
Post Production Coordinator
Web Programmer
Web Designer
PRODUCING TEAM (Non-Union)
Executive Producer
Producer
Co-Producer
Line Producer
Associate Producer
Assistant to the Producer
Producer Intern
Business Affairs Assistant
PRODUCTION OFFICE (DGC)
Production Manager
Assistant Production Manager
Unit Manager
Trainee Production Coordinator
Production Coordinator
Assistant Production Coordinator
Office Production Assistant
Set Runner
Production Accountant
Assistant Production Accountant
2nd Assistant Accountant
Production Bookkeeper
Accounting File Clerk
PROPS (IATSE)
Props Trainee
Props Crew
Props Builder
Weapons Handler
Armourer
Props Buyer
Assistant Props Master
Firearms Safety Coordinator
Props Master
On Set Props Dresser
Special Effects Coordinator
Pyrotechnic Specialist
Gun Wrangler
PUBLICITY (Non-Union)
Publicist
Publicity Assistant
SET DECORATOR (IATSE)
Set Dec Production Assistant
Set Dec Crew
Set Dresser
Draper/Upholsterer
On-Set Dresser
Set Buyer
Assistant Set Decorator
Lead Set Decorator
Set Decorator
SOUND (IATSE)
Location Sound Assistant
Cable Puller
2nd Boom Operator
Playback Operator
Boom Operator
Production Sound Mixer
Post Sound Trainee
Assistant Dialouge Editor
ADR Recording Engineer
Foley Recordist/Editor
Sound EFX/Dialouge Editor
Loop Group Recordist/Editor
Music Editor
Master Mixer/M&E Engineer
Assistant Sound Supervisor
Loop Group Spotter/Producer
Re-Recording Mixer
Sound Supervisor/Designer
Sound Production Manager
Composer
SPECIAL EFFECTS (IATSE)
3rd Assistant/Trainee
2nd Assistant SPFX
Special Effects Fabricator/Buyer
First Assistant Special Effects
Key SPFX
Special Effects Coordinator
STORY DEPARTMENT (Non-union)
Story Department Trainee
Story Department Coordinator
Researcher
Story Editor
Executive Story Editor
Documentary Writer
Screenwriter
STUNTS (IATSE)
Stunt Coordinator
Stunt Double
TRANSPORTATION (IATSE)
Driver Trainee
Driver Class 4,5
Driver Class 1A,1,2,3
Honeywagon Driver
Picture Vehicle Coordinator
Transportation Coordinator
Transportation Captain
TUTORING (IATSE)
Children's Tutor
Child Wrangler
WRANGLING (IATSE)
Wrangler Trainee
Wrangler
Gang Boss
Ramrod
POSITION DESCRIPTIONS
ART DEPARTMENT
PRODUCTION DESIGNER
The Production Designer, in conjunction with the Art Director is responsible for the entire visual look of a film. They make decisions about location, special effects, set decoration, props, make-up and wardrobe in the pre-production phase and supervise elements during shooting. They work closely with the Producer, Director and Director of Photography to realize these elements on film.
ART DIRECTOR
The Art Director coordinates the preparation and execution of all the visual elements of a production. They are responsible for administrating the budget of the Art Department and script breakdown. Duties include the preparation of working drawings, detailed drawings, lay-outs and design of any kind of use in the construction, painting or decorating of sets; dressing the interior and exterior sets and locations; and supervision of department crew.
ART DEPARTMENT COORDINATOR
The Art Department Coordinator assists the Art Director in the efficient operation of the departments. Duties include departmental communications, research, materials and services
sourcing, budget tracking, scheduling and interdepartmental coordination.
PROPERTY MASTER
The Prop master is responsible for the preparation of a props breakdown. They also research the historical period of props, buildings and procure props to be seen on camera; arrange all necessary permits to convey restricted weapons; coordinate with wardrobe the required accessories. While on set the Props master will administer props to artists and strike and reset hot sets established by the Set Decorators.
SET DECORATOR
The Set Decorator works with the Production Designer/Art Director for the coordination and realization of the dressing of all studio and location sets, interior and exterior. They are also responsible for the research, purchase, rental, leasing, or acquisition of items used as set décor.
ON-SET DRESSER
The On-Set Dresser works with the Decorator and the Props master for on-set continuity of Set Dressing. Duties include: placement and replacement of dressing for camera and continuity; care and safety of dressing pieces; and anticipation of camera shots.
ASSISTANT DIRECTOR
1st ASSISTANT DIRECTOR (1ST AD)
During pre-production the 1st AD is responsible for breaking down the script, preparing the one liner, shooting schedules and days out of days. During production the 1st AD assists the Director with on-set production detail, coordinates and supervises crew and cast activities and facilitates an organized flow of production activity. They determine cast and crew calls, direct background performers and supervise crowd control.
2nd ASSISTANT DIRECTOR
The 2nd Assistant Director acts as an assistant to the 1st AD and is responsible for the preparation of call sheets, handling extras’ requisitions, prepare the daily production report; after shooting has started, distribute scripts, script revisions and call sheets to cast and crew, maintain liaison between the PM and the production office and the 1st AD on set. Assist the 1st AD in the direction and placement of background performers.
3rd ASSISTANT DIRECTOR (3RD AD)
The 3rd Ad is responsible for signing in and out the performers on a set, making sure they get to hair, make-up and wardrobe on time, escorting them to set, preparing the production report and assisting the 1st and 2nd AD’s when needed.
TRAINING ASSISTANT DIRECTOR (TAD)
The TAD acts as a set “runner”, extras wrangler. They are responsible for the maintenance and distribution of walkie talking, writing down wrap times, counting the lunch line up, assisting cast, etc.
CAMERA
DIRECTOR OF PHOTOGRAPHY (DOP or DP)
Directs all photography and oversees all lighting. They also, determine the photographic style of the film; maintains photographic continuity; works with the Director, Art Director, Costume Designer and Make-up Artists in determining visual style. Determines equipment requirements for each location, camera lens, camera position, filtering, dolly, directs lighting, instructs lab for proper handling and development of film, and participates in colour timing and video transfer.
CAMERA OPERATOR
Executes the DOP’s camera instructions by operating the camera and maintaining the composition established.
1st ASSISTANT CAMERA/FOCUS PULLER
Maintains and cleans the camera and sets up for each shot with appropriate lenses and filters. Also sets the stop and focus for each set up. Often responsible for shooting the camera stills.
2nd ASSISTANT CAMERA/CLAPPERS LOADER
Loads and unloads the film, does the slating and is responsible for camera reports and paperwork.
CONSTRUCTION
CONSTRUCTION COORDINATOR (CARPS)
The Construction Coordinator is responsible for all work in conjunction with the manufacturing and building of the sets, cut outs, scenic frames, parallels, platforms and all carpentry work related to the production.
CARPENTERS
Under the direction of the Construction Coordinator, the carpenters construct the set.
COSTUME
COSTUME DESIGNER
The Costume Designer determines the costume needs of the production. Duties include script breakdown, costume plots, sketches, costume renderings, budgeting, selection of material, selection of costumes and accessories, hiring of personnel and scheduling.
COSTUMER
The Consumer is responsible for organizing work and storage areas, managing costume inventory, shop supplies and equipment, supervising set up and wrap, scheduling fittings, arranging rentals, shopping and arranging transportation of costumes and supplies to and from the set. They are also responsible for the laundry, ironing, fittings and alterations.
BREAKDOWN ARTIST
The Breakdown Artist is responsible for making new items look old and worn, especially on historical shows. They work with different dye techniques and solvents.
ON SET DRESSER
The On-Set Dresser is responsible for the continuity and maintenance of the performer’s wardrobe on set. They arrange the costumes for each scene and for each actor.
DIRECTOR
DIRECTOR
The Director’s total function is unique and requires participation in all creative phases of the production. The Director is responsible for translating the script into what is seen on screen, through performances, sets, wardrobe, audio, etc.
FIRST AID/CRAFT SERVICES
CRAFT SERVICE
The Craft Service person sets up and maintains near the set, a craft service station complete with coffee, tea, water, cold drinks, fruit, pastries, snacks, gum, etc. They are responsible for providing pre-call breakfasts and a substantial snack every 3 hours. They are the first aid designate on set.
GRIPS
KEY GRIP
The Key Grip works in conjunction with the DOP to decide on the grip equipment, rentals and purchases necessary for the production. They Key Grip organizes the moving and striking of parallels, platforms, stage scenery, sets, drops, drapes, and cat walks. They further delegate the operation and movement of reflector boards, reflective material; and colour corrective gels and diffusions equipment; also the operation of camera dollies, cranes, mounts and any other camera or sound mobile equipment.
BEST BOY GRIP
The Best Boy Grip is an assistant to the Key Grip and is responsible for the maintenance, servicing and inventory control of all grip equipment. The Best Boy Grip is also responsible for the loading and unloading of vehicles used in the movement of grip equipment.
DOLLY OPERATOR
Dolly Operators are responsible for the moving on set of all camera dollies and cranes and maintenance of the same. They are a Grip specializing in camera movements via dollies of various kinds.
HAIR
KEY HAIR STYLIST
In conjunction with the Producer, Director and Production Designer, the Hair stylist breaks down the script to figure out hair requirements. They also handle the maintenance and styling of wigs and hair pieces; cutting and colouring if artist’s hair.
LIGHTING
GAFFER/LIGHTING TECHNICIAN
Working with the DOP, the Gaffer will decide on the lighting equipment and
purchases necessary for the production. The gaffer is responsible for providing
the intensities and lighting rations designed by the DOP.
BEST BOY ELECTRIC
The Best Boy Electric assists the Gaffer in the organization and ordering of
equipment. Also assists in the loading of vehicles used by the lighting department. The Best Boy is responsible for having all equipment and personnel required on set and for the running
maintenance of all the lighting equipment and accessories.
GENERATOR OPERATOR
The Genny Op is responsible for the running, maintenance and operation of the generators or power plants used by the production for all its power requirements. The Genny Op correctly balance all loads and ensures there is sufficient fuel at all time and is responsible for the safe hook up feed cables to electrical service as needed.
LOCATIONS
LOCATIONS MANAGER (LM)
The Locations Manager is responsible for locating sites according to the
requirements of the script. They contract property owners, negotiate rental rates, obtain necessary permits for locations, secure parking for production vehicles, arrange police assistance, location security, arrange for meal location, catering space, housing,
dressing room space, equipment set up and storage, bathrooms, electrical tie ins. They also secure special equipment such as space heaters, masks, fans, etc.
ASSISTANT LOCATION MANAGER (ALM)
The Assistant Locations Manager oversees a location while shooting is occurring. The ALM is responsible for the Location PA’s on set, ensuring a location is properly cleaned upon completion of filming, and knowing all relevant information about the location such as where to find water, telephones and parking.
LOCATION PRODUCTION ASST.
The Location PA’s have a wide range of responsibility from: traffic (vehicle/pedestrian), lock off, crowd control, clean up and security.
MAKE-UP
KEY MAKE UP ARTIST
In conjunction with the Producer, Director and Production Designer, the Make-up Artist breaks down the script to design the look; application, maintenance and removal of all make-up and appliances (foamed latex, gelatin, etc.)
PAINT DEPARTMENT
SCENIC PAINTER
The Scenic Painter is responsible for painting the set/backdrops as per the Art Director. This involves breaking down a set to look old, painting floors to look like hardwood, etc.
POST PRODUCTION
SUPERVISING EDITOR
The Supervising Editor works with the producer to oversee the budget and equipment rentals or leases. They act as a liaison between producers, labs, video post production houses and sound mixing facilities. They are responsible for the supervision of department staff and all editing of the picture on film, videotape or digital. The Supervising Editor oversees all phases of post production including sound editing and supervision of the sound mix to final release of the project.
EDITOR
The Editor works with the producers and the director for consultation on how the film should be edited. They are responsible for the actual editing and cutting of a picture of film, videotape or digital to completion of the final cut. The Editor coordinates and oversees the day to day activities of the editing room with all assistants. They also work with labs and video houses for final colour timing or colour corrections to the final cut.
FIRST ASSISTANT EDITOR
The duties of the First Assistant Editor are delegated by the Supervising Editor or the Editor. They are responsible for the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit.
SECOND ASSISTANT EDITOR
The Second Assistant Editor assists the First Assistant Editor in the preparation of dailies for the Editor and screening; organizing and logging all dailies in preparation for editing; organizing all edit room paperwork, organizing of all cuts, assemblies and rough cuts for output, transfer and viewing; overseeing of the Second Assistant, and general organization of the post production unit. Additional duties may include the operation of an edge coding machine.
SPECIAL EFFECTS EDITOR
The Special Effects Editor works with the Supervising Editor to create the special effects using a variety of different editing programs and software. They are responsible for the actual editing of all special effects for a film, videotape or digital. The Special Effects editor oversees all steps of the SPFX editing including rough and final cuts.
ASST. SPECIAL EFFECTS EDITOR
The Assistant Special Effects Editor is responsible for the preparation of dailies for the SPFX Editor and screening; organizing and logging all dailies in preparation for SPFX editing; organizing all edit room paperwork, organizing all cuts, assemblies and rough cuts for output, transfer and viewing and general organization of the SPFX post production unit.
SUPERVISING SOUND EDITOR
The Supervising Sound Editor works with the producers to oversee the sound post production budget, sound post production staff, equipment and editing. Duties include: the supervision of all sound editing of film, videotape or digital. They are responsible for designing a workable system for, and overseeing all the phases of the sound cut, including the supervision and completions of the sound mix and all layback to picture or optical tracks.
MUSIC EDITOR
Under the direction of the Sound Supervisor, or in consultation with the Producer or Director, the Music Editor
will complete the editing of all music tracks; may liaise and coordinate with the Music Composer; prepare all music tracks and cue sheets for the sound mix of music.
DIALOGUE EDITOR
Under the direction of the Sound Editor, or in consultation with the Producer or Director the Dialogue Editor will complete the editing of all dialogue tracks, including location dialogue, additional dialogue replacement (ADR) and voice-overs; may oversee the re-recording of ADR; prepare all track and oversee all cue sheets for final sound mix of dialogue.
ASSISTANT DIALOGUE EDITOR
The Assistant Sound Effects Editor works with the Dialogue Editor and the Sound Supervisor in organizing and retransferring of all replacement dialogue, the cueing and organization of all additional ADR and voiceovers. They are also responsible for day to day operation of the dialogue editing machine, preparation of all tracks for the final mix (including wiping pictures and cleaning tracks) and overseeing the preparation of cue sheets.
SOUND EFFECTS EDITOR
The Sound Effect Editor works with the Sound Supervisor and the SPFX Editor to complete the editing of all sound effects tracks. This includes recording or manufacturing sound, overseeing the recording of the foley tracks; the preparation of all sound effect tracks and cue sheets for the final sound mix
ASST. SOUND EFFECTS EDITOR
The Assistant Sound Effect Editor works with the SPFX editor and the SPFX Sound Editor in searching, organizing and transferring all sound
effects. They are also responsible for laying up of all sound effects tracks, overseeing the day to day operation of the SPFX editing unit; preparation of all sound effects tracks do the final sound mix, including the wiping of picture and cleaning of tracks. Also oversees the preparation of cue sheets.
PRODUCERS
EXECUTIVE PRODUCER
The Executive Producer secures the funding necessary to get a film into production. They usually are not involved in the day to day decision making once a production has begun.
PRODUCER
The Producer is the individual, firm, corporation or organization that controls, administer or is responsible for all aspects of the production. They oversee all aspects of a production at every stage along the way.
ASSOCIATE PRODUCER
The Associate Producer is the right hand person to the Producer. They are responsible for clearances, contract completion, liaison with invertors, research and post production follow up.
PRODUCTION OFFICE
PRODUCTION MANAGER
The Production Manager is responsible to the Producers for ensuring the production runs smoothly and as planned, always keeping a close eye on budget and unnecessary expenses, such as time delays. They oversee all business and logistical arrangements for the production decisions and the hiring of the crew.
PRODUCTION COORDINATOR
The Production Coordinator runs the production office under the guidelines on the Production Manager. Tasks include set up and close down of the office, prepare and distribute shooting schedules, crew and cast lists, call sheets daily production reports, movement orders, and distribute scripts and script revisions. The Coordinator also coordinates all travel and accommodation, work visas, insurance medical for cast and crew, importing and exporting equipment, coordinate the shipment of film and sound tape to and from the lab and a myriad of other duties.
ASST. PRODUCTION COORDINATOR
The Assistant Production Coordinator assists the Production Coordinator with the running of the office. They are often responsible for completion of the call sheet and ensuring proper distribution of all paperwork.
OFFICE PRODUCTION ASST.
The Office PA assists the office with a number of tasks from photocopying, set runs, out of office errands, reception duties, filing, office set up and tear down, and some driver duties.
SCRIPT SUPERVISOR
SCRIPT SUPERVISOR (CONTINUITY)
The duties of the script supervisor include the preparation of the script; verification of artist’s lines, timing of the script, run lines, assist with the blocking of scenes, notes any deviations from the script, keeps detailed notes of all action, positions, camera angles, additional progression, times the takes, furnishes the camera and sound with slate numbers and prints; make continuity notes along with a complete lined script for the days’ work for the editor; provides the office with a daily report as to the number of set ups, picture times, scenes and pages shot and cumulate time.
SOUND
SOUND MIXER/ENGINEER
The Sound Mixer is in charge of recording, re-recording dubbing, synchronizing and scoring all of the sound on location. This includes dialog, sound effects, wild lines and room tone.
BOOM OPERATOR (BOOM OP)
The Boom Op is responsible for the placement of microphones (usually on a long boom pole) making sure that they do not interfere with the shot or surrounding of production; set-up and wrap sound equipment, place radio microphones and transmitters on artists.
CABLE PULLER
A Cable Puller is in charge is pulling microphone cable out of the way on moving shots. Also wires the actors.
SPECIAL EFFECTS
SPECIAL EFFECTS COORDINATOR
The Special Effects Coordinator works with the Production Designer and Art Director to determine the budget and what SPFX are needed for a production. They are responsible for the supervision, manufacturing, setting up, operation, striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the SPFX Coordinator must be certified to handle those materials.
1ST ASST SPECIAL EFFECTS
The duties of the First Assistant Special Effects are delegated by the Special
Effects Coordinator. These duties include: setting up, and operating,
striking and storing of all equipment and materials used in making special effects. If explosives or pyrotechnics are to be used, the First Assistant Special Effects must be certified to handle those materials
The Sound Mixer determines the type and quality of sound equipment; the maintenance of log sheets for each roll of tape recorded, mark printed takes in conjunction with the Script Supervisor and Camera Assistant, and detailed script notes for the editor.
2ND ASST SPECIAL EFFECTS/BUYER
The Second Assistant Special Effects/Buyer works with everyone in the SPFX team. They are delegated by
the SPFX Coordinator and are responsible for buying the SPFX tools and materials.
3RD ASST SPECIAL EFFECTS
The Third Assistant Special Effects performs duties outlined by the SPFX Coordinator or First Assistant Special Effects.
VISUAL EFFECTS SUPERVISOR/DIRECTOR
The Visual Effects Supervisor is responsible for the daily operations of
the department. They oversee the design of all 2-D and 3-D animation, optical
and rotoscoping elements, (digital) “Off Line and On Line” complications, editing, and digital video effects (DVE) required in Post Production and Video Playback. The VFX Supervisor/Director is also responsible in directing all “VFX Plates” used in digital (chroma key/blue screen) matte background paintings and supervises all visual master SP/BETA video footage.
VISUAL EFFECTS ASSISTANT
The Visual Effects Assistant assists the VFX Supervisor/Director/CGI in all aspects of the VSF department.
STORY DEPARTMENT
STORY EDITOR
The Story Editor works in cooperation with the Producer and the Director to make changes to the plot, storyline, characters, dialogue, etc. of the original screenplay. They “polish” the script.
STORY DEPARTMENT COORDINATOR
The Story Department Coordinator is responsible for the distribution of the script and any revisions to the Production Office. They are also responsible for the department’s budget, researching subject matter, typing in the script revisions and in some instances are responsible for the continuity of characters through out the script, especially in episodic television. They are also responsible for the sourcing and the ordering of office equipment.
TRANSPORTATION
TRANSPORTATION COORDINATOR
The Transportation Coordinator is responsible for purchasing, leasing or renting any vehicles required on the production. They are also responsible for the scheduling, hiring and coordination of drivers and picture vehicles.
DRIVER
Drivers are responsible for driving cast to and from set and the airport; driving crew to locations, maintenance of rental vehicles, running paperwork to and from set/office; picking up various items for cast and crew.
PLEASE NOTE:
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This is a summary of some of the key positions in a film/television production. Depending on the size of the production, each department may have many assistant positions or two or three of the same position.
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Many departments have people who work on a per day basis. They may work one day of the shoot or several days, depending on the needs of the department. Dailies often float between departments
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