WHO MAKES UP THE FILM CREW?

Producer
• A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

 Director
• The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, they are ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

First Assistant Director
• 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 working environment in which the director, principal artists (actors) and crew can be focused on their work. They 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.

Director of Photography
• The Director of Photography is the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct aperture, filter, and lighting to achieve the desired effect.

Production Assistant
• A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.

Script Supervisor
• 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, blocking, and other details to ensure continuity from shot to shot and scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

Art Director
• 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 to oversee the aesthetic and textural details of sets as they are realized.

Set Decorator
• 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 coordinates with the art director. In recognition of the set decorator's importance, the Academy Award for Art Direction is given jointly to both the production designer and the set decorator.

Props Master
• The property master, more commonly known as the props master, is in charge of finding and managing all the props that appear in the film. The props master usually has several assistants.

Make-up Artist
• Make-up artists work with makeup, hair and special effects to create the characters look for anyone appearing on screen. Their role is to manipulate an actor's on-screen appearance whether it makes them look more youthful, larger, older, or in some cases monstrous. There are also body makeup artists who concentrate their abilities on the body rather than the head.

Gaffer
• The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".

Best boy (Electrical)
• The best boy electric is the chief assistant to the gaffer. He or she is not usually on set, but dealing with the electric truck and rentals.

Location Manager
• 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/Finance Dept(s) in maintaining budget management regarding actual location/permit fees as well as labor costs to production for himself and the Locations Department at large.

Film Editor
• The film editor is the person who assembles the various shots into a coherent film, with the help of the director. There are usually several assistant editors.

Visual Effects Supervisor
• The visual effects supervisor is in charge of the visual effects department. Visual effects refer to post-production alterations to the film's images. They are not to be confused with special effects, which are done during production (on set).

Sound Designer
• 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 liking.

Foley Artist
• The foley artist is the person who creates many of the sound effects for a film.

Re-recording Mixer
• Balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films audio track.

Stunt Coordinator
• Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the director.

First Assistant Camera
• The role of the First Assistant Camera (until recently known as Focus Puller) is one of the most skilled jobs on a film crew. First AC's are responsible for focusing and refocusing the camera lens as actors move within the frame of each shot, but they do not look through the lens to do this; they pull focus according to a set of complex marks (which are placed on the set, on the floor, on props, etc., during the Director's on-set rehearsal time with the cast), and by using their instincts and experience of judging focal lengths.