Who does what on a film set

Producer

A film producer originates or manages a project from development through delivery: rights, script, financing, hiring the director and key crew, and overseeing release.

Executive Producer

On features, executive producer credit goes to people who financed or brought the material early. In TV, executive producers sit at the top of the producing ladder.

Line Producer

A line producer builds and owns the production budget and logistics plan, hires department heads, and answers to the producers for whether the show wraps on budget.

Co-Producer

Co-producer means different jobs: the line producer or UPM on a feature, a writing staff rank in TV, or a partner company on an international co-production.

Associate Producer

An associate producer takes on specific producing tasks assigned by the producer, like clearances, post supervision, or financing support. The credit is often negotiated.

Unit Production Manager

A unit production manager runs the physical production: crew hiring, budget and schedule control, union compliance, and the daily fixes. DGA 2026-27 minimums included.

Production Supervisor

A production supervisor handles day-to-day production logistics under the line producer and UPM: vendors, equipment, office systems, crew paperwork, and set support.

Production Coordinator

A production coordinator runs the production office: crew lists, start paperwork, script and schedule distribution, travel, shipping, and permits. Local 161 rates inside.

Assistant Production Coordinator

An assistant production coordinator backs up the POC: script revisions, crew paperwork, supply and walkie orders, office PA runs, and daily distribution. Local 161 rates.

Travel Coordinator

A production travel coordinator books flights, hotels, and ground travel for cast and crew, writes travel movement memos, and tracks union travel rules on location shows.

Production Secretary

A production secretary runs the front of the production office: phones, visitors, drive-on passes, crew list updates, filing, and distribution support.

Office Production Assistant

An office PA is the entry-level job in the production office: runs, deliveries to set, copies, supplies, lunch orders, and phones, working under the APOC and coordinator.

Production Accountant

A production accountant tracks every dollar on a film: POs, payroll, petty cash, the weekly cost report, and the estimates producers use to decide what to cut.

Assistant Accountant

Assistant production accountants handle accounts payable, POs, invoice coding, petty cash, and bank reconciliations so the production accountant can run cost reports.

Payroll Accountant

A production payroll accountant checks time cards against deal memos and union rules, sends payroll to the payroll company, and reconciles every check.

First Assistant Director

What a 1st AD does in prep, on set, and at wrap: the schedule, the call sheet and production report loop, DGA minimums, and the qualification list route.

Second Assistant Director

The 2nd AD builds the call sheet, runs cast logistics, and writes the production report. Daily workflow, DGA minimums, and the routes onto the 2nd AD list.

Second Second Assistant Director

The 2nd 2nd AD runs the set floor for the AD team: background, lock-ups, moving actors to set. What the job involves, DGA minimums, and how to get it.

Key Set Production Assistant

The key set PA runs the set PAs for the AD department: lock-ups, walkies, background holding, and first-in, last-out logistics. Duties, a real day, and next steps.

Set Production Assistant

What a set PA does for the AD department, a real shoot day from call to wrap, the mistakes that get PAs cut, and how the job leads to 2nd AD work.

Director

What a film or TV director does in prep, on set, and in the edit, how DGA minimums and low budget levels work, and the documents a director signs off on.

Script Supervisor

The script supervisor tracks continuity, lines the script, times scenes, and writes the daily report editors use. Duties, Local 871 rates, and roster rules.

Showrunner

A showrunner runs a TV series as head writer and lead executive producer. The writers' room, prep and post duties, the career ladder, and the WGA training program.

Writers' Assistant

A writers' assistant takes notes in a TV writers' room and keeps its documents. What the job involves, the Local 871 rate, and how it differs from script coordinator.

Director of Photography

The DP designs the look of a film and runs the camera, electric, and grip departments. Prep, set, and post duties, Local 600 minimums, and the roster rules.

Camera Operator

The camera operator frames and moves the camera during takes for the DP. What the job involves on set, Local 600 minimums, and how operators get hired.

First Assistant Camera

The 1st AC preps the camera package, pulls focus, and runs lens changes and camera builds. Duties, a real day, Local 600 minimums, and how ACs get hired.

Second Assistant Camera

The 2nd AC slates takes, keeps camera reports, lays actor marks, and runs the camera cart and media handoffs. Duties, Local 600 minimums, and the path up.

Digital Imaging Technician

The DIT manages camera data, on-set color, and image quality on digital shoots. Daily workflow, storage arithmetic, Local 600 rates, and how DITs get hired.

Camera Loader

The camera loader loads film mags, tracks raw stock, and ships exposed film to the lab, or runs media as a utility on digital shows. Duties, rates, roster rules.

Steadicam Operator

A Steadicam operator wears a body-mounted stabilizer to get smooth moving shots. How the rig works, planning a long take, rig rental deals, and how operators train.

Still Photographer

The unit still photographer shoots publicity and marketing photos on set during rehearsals and takes. Duties, silent shooting, approvals, and Local 600 minimums.

Gaffer

A gaffer (chief lighting technician) designs the electrical plan for each setup, runs the lighting crew, and manages power. Local 728 2026-27 minimums included.

Best Boy Electric

The best boy electric is the gaffer's second in command: crew hiring, time cards, the lighting truck, and rental orders. Local 728 2026-27 minimums included.

Set Lighting Technician

Set lighting technicians, or electricians, rig, power, and adjust lamps for each setup under the gaffer. Duties, a day on set, and Local 728 2026-27 minimums.

Key Grip

The key grip runs the grip department: rigging, light control with flags and silks, camera support, and set safety. What the job involves and how to get it.

Best Boy Grip

The best boy grip is the key grip's second: crew calls, the grip truck, rental orders, and time cards. Daily duties, pay rules, and how people move into the job.

Dolly Grip

A dolly grip lays track, levels it, and pushes the camera dolly to hit marks on every take. What the job involves, the gear, and how grips move into it.

Grip

Grips set flags, silks, stands, and rigging, build camera support, and keep set equipment safe. Daily work, gear, and how to break into the grip department.

Production Designer

The production designer heads the art department and designs every set, location dressing, and prop look. What the job involves from script to wrap, and ADG rules.

Art Director

The art director runs the art department day to day for the production designer: drawings, construction, schedules, and budgets. Duties, a prep week, and ADG rules.

Set Decorator

The set decorator chooses and sources every piece of furniture, drape, and object on a set, then runs the dressing crew. Duties, budgets, and Local 44 rules.

Set Dresser

Set dressers load, place, adjust, and strike the furniture and objects on a set for the set decorator. The day-to-day work, crew structure, and Local 44 rules.

Prop Master

The prop master breaks down, sources, and manages every prop an actor handles, from coffee cups to hero props and firearms. Duties, safety, and Local 44 pay.

Assistant Prop Master

The assistant prop master preps, tracks, and resets props on set for the prop master, and often runs the prop truck. Daily work, continuity, and Local 44 pay.

Storyboard Artist

A storyboard artist draws a scene shot by shot so the director and crew can plan coverage, stunts, and VFX before shooting. The job, the tools, and ADG membership.

Costume Designer

The costume designer creates every character's wardrobe, from fittings and builds to background, and manages the costume budget. Duties, a prep timeline, and CDG rules.

Costume Supervisor

The costume supervisor runs costume department operations for the designer: crew, budget tracking, rentals, workroom, and continuity paperwork. Local 705 rules explained.

Costumer

Costumers prep, fit, dress, and maintain costumes and track wardrobe continuity on set. Set costumers, background dressing, a day's schedule, and Local 705 rules.

Key Hair Stylist

The key hair stylist designs and maintains every principal actor's hair, wigs, and facial hair through the shoot. Duties, continuity, box rental, and Local 706 rules.

Key Makeup Artist

The key makeup artist designs and applies makeup for the lead cast, runs the makeup trailer, and tracks continuity. Duties, call time math, box rental, and Local 706.

Special Effects Makeup Artist

Special effects makeup artists design and apply prosthetics, wounds, aging, and creature makeup. Lab work, application times, safety, box rentals, and Local 706 rules.

Production Sound Mixer

The production sound mixer records dialogue on set, runs the sound package, and delivers files and sound reports to post. The job, the gear rental, and Local 695 rules.

Boom Operator

The boom operator holds and aims the boom microphone to capture dialogue on every take while staying out of frame and shadows. Technique, a day on set, and Local 695.

Sound Utility

The sound utility, or utility sound technician, wires actors, manages wireless and batteries, runs second boom, and supports the mixer. Duties and Local 695 rules.

Location Manager

A location manager finds, negotiates, permits, and runs every practical location on a shoot. Duties by phase, a sample day, Local 399 rates, and how people get hired.

Assistant Location Manager

An assistant location manager runs the location on the day: opening it, parking, signage, neighbors, and lockup. Duties, a sample day, and Local 399 weekly rates.

Location Scout

A location scout finds and photographs real places that can stand in for the script's settings. What the job involves, a scouting day, AICP rates, and how to break in.

Casting Director

A casting director finds actors, runs auditions, and negotiates cast deals. The casting process, a session day, Teamsters 399 and 817 minimums, and the career path.

Casting Associate

A casting associate runs sessions, reviews self-tapes, and manages the casting office day to day. Duties, a weekly rhythm, Teamsters 399/817 minimums, and how to move up.

Extras Casting Director

An extras casting director books background actors, stand-ins, and photo doubles for each shoot day. How bookings work, SAG-AFTRA background rates, and the paperwork.

Stunt Coordinator

A stunt coordinator designs, rehearses, and supervises every stunt and fight, and hires the stunt team. Safety duties under Bulletin #4, SAG-AFTRA rates, and a stunt day.

Special Effects Supervisor

A special effects supervisor designs and runs practical effects like rain, fire, breakaways, and pyrotechnics. Safety duties, licensing, Local 44 rates, and a rain night.

VFX Supervisor

A VFX supervisor plans each visual effects shot, oversees how it is filmed, and approves vendor work through delivery. Prep, on-set data, post, and the career path.

VFX Producer

A VFX producer budgets visual effects, runs vendor bids, and tracks each shot's cost and schedule to delivery. Duties, a worked bid, cost tracking, and career path.

Previs Artist

A previs artist builds rough animated 3D versions of complex sequences before filming so the director and crew can plan cameras, stunts, and VFX. Duties and path in.

Transportation Coordinator

The transportation coordinator runs a production's vehicles and drivers: trucks, trailers, vans, and picture cars, plus the budget and schedule for moving all of them.

Transportation Captain

A transportation captain runs the drivers on the day: truck moves, shuttles, cast pickups, and parking, working from the call sheet and the coordinator's plan.

Driver

Production drivers move a film's trucks, trailers, vans, cast, and crew. Here is the day, the license classes, Local 399 minimums, and how drivers get hired.

Craft Services

Craft services keeps snacks, drinks, and coffee on set between meals. What the craft service crew does, how the table is budgeted, and how the job is covered in LA.

Catering

Film catering serves breakfast, lunch, and second meals from a kitchen truck at base camp. Here is how caterers plan headcount, timing, and Local 399 chef assistants.

Set Medic

A set medic gives first aid on a film set, keeps the injury log, knows the nearest hospital, and starts the workers' comp paperwork when someone gets hurt.

Studio Teacher

A studio teacher schools minors on set and protects their health and safety under California's Title 8 rules: hours by age, ratios, schooling, and the power to stop work.

Intimacy Coordinator

An intimacy coordinator plans and oversees scenes with nudity or simulated sex, following SAG-AFTRA's standards: riders, consent, modesty garments, and set protocols.

Post-Production Supervisor

A post-production supervisor runs the schedule, budget, and vendors for post: dailies, editorial, sound, VFX, color, and the deliverables list that ends the job.

Editor

A film editor turns dailies into a finished cut: the assembly during the shoot, the director's cut, notes, and picture lock. The workflow, tools, and hiring path.

Assistant Editor

An assistant editor ingests and syncs dailies, organizes bins, builds temp tracks, and prepares turnovers for sound, VFX, and color. What the job involves day to day.

Composer

A film composer writes the original score: spotting sessions, cue lists, mockups, recording, and delivering stems and cue sheets, plus how composer deals work.

Unit Publicist

A unit publicist handles a film's publicity during production: set visits, production notes, bios, stills approvals, and the press materials marketing uses later.