BC Institute of Film Professionals
1385 Homer Street
Vancouver, BC, Canada, V6B 5M9
Phone: 604.291.6525
Fax: 604.692.2551
info@bcifp.com

Job Descriptions

Filmmaking is a prolonged and exceptionally intricate process. It requires complex collaboration on all levels. It demands teamwork, a positive attitude, creativity and really good footwear!

There are as many kinds of jobs as there are stories to tell.

Development Team
Production Team
Camera Department
Design Team
Technical Crew
Transportation
Catering
Wrangling
Performers Team
Production Office Team
Post-production Team

DEVELOPMENT TEAM
Executive Producer - directly responsible to the studio or network for the entire look, cost and effective running of the project; coordinates film production from financing to sales. EP's may be in charge of more than one project at a time. In some cases the EP owns the rights to the film, or they may have been hired by a studio or network to oversee it.

Producer - has the screenplay developed into a workable shooting script; plans, organizes and coordinates all aspects of the production. The Producer's talents bring the best cast and crew together.

Line Producer - in charge of the business aspects of the film and may share in artistic decisions. The Line Producer helps the Director get whatever is needed for the show and oversees how all the money is spent.

Screenwriter - responsible for the required research and the writing of the story. In some cases a screenwriter may be attached to a large studio, but more often will be a freelancer. The screenwriter may be hired to create a script from a concept or may create original ideas which are "pitched" to a studio, broadcaster or independent producer.

PRODUCTION TEAM
Director - in charge of all the creative aspects of the project or film; interprets the script and directs the action before the camera. The Director guides all departments in their work towards the final product and has the final say in casting, production design, location choices, script revisions, costume design and "look", as well as editing of picture and sound during post-production. On the working set, the Director is the ultimate authority and everyone is there to help create the director's vision.

1st Assistant Director (1st AD) - creates the schedule and is in charge of running the set and keeping a certain pace during shooting. 1st AD's communicate to the crew what is happening and what is about to happen. They are responsible for safety on set. They direct the movement of the crew on set and may place and direct extras in scenes.

2nd Assistant Director (2nd AD) - responsible for everyone on the crew knowing their call time and location. The 2nd AD organizes work for the next day by way of the Call Sheet, does departmental paperwork and production reports, conveys information from the 1st AD to the rest of the AD team and crew and may also set background extras.

3rd Assistant Director (3rd AD) - oversees performers' preparation for the set and is
responsible for their time sheets and assisting on set when required. 3rd AD's stay close to the circus and the performers, accompanying them to the set when ready.

Production Manager (PM) - in charge of the day to day financial aspects of the production, prepares budgets and schedules, hires the technical crew and authorizes payment of all suppliers, payroll, location costs and fees. The Production Manager approves schedules, call sheets and production reports.

Unit Manager (UPM) - functions as an assistant to the Production Manager and overseas the effective running of a 2nd Unit.

Location Manager (LM) - responsible for finding and securing all appropriate locations or facilities for shooting and acquiring all of the required permits. Location Managers also provide all personnel needed for policing and traffic control in certain locations. LM's are hired early in pre-production and must have a comprehensive understanding of the logistics and complexities of shooting in the chosen locations. The Locations Department may be a single person, or up to 5, depending on the number and complexity of locations.

Assistant Location Manager (ALM) - is the assistant to the Location Manager and
functions primarily on set as the liaison between the production company and the community, neighbourhood or location owner. ALMs delegate duties to police officers and PA's during shooting.

Production Assistant (PA) - provides general assistance on-set, which may include crowd control, security, clean up, public relations and so on. There are often 4 or more PA's on a set. Production Assistants may also work in the production office.

Background/Extras Wrangler - supervises and coordinates the background performers.

CAMERA DEPARTMENT
Director of Photography (DOP) - responsible for the overall look of the film. The DOP - also called the Cinematographer - creates the lighting, ambience, atmosphere and tone of the film, through choice of film stock, camera lenses, filters and movements. The DOP works closely with the Director to plan the shot and with the Head Lighting Technician (Gaffer) to achieve the desired effect.

Camera Operator - the person behind the lens, who works under the DOP to create the
framing and composition of each shot.

1st Camera Assistant (Focus Puller) - makes sure that the camera is in the proper focus for each shot and that all cameras and camera equipment are in good working order; works with the DOP on technical aspects.

2nd Camera Assistant (Clapper-Loader) - responsible for marking the actor's places, slating, the film stock and ordering all camera-related equipment. The 2nd keeps track of the film used, tapes the performers' marks and readies the exposed film (labels, paperwork) to go to the lab.

Still Photographer - takes publicity photos and documents the production.

Video Coordinator - responsible for video playback of all monitors on set and for playback of the camera video tap.

Visual Effects Coordinator - responsible for making the camera picture and the effects created in post-production match up and look believable.

DESIGN TEAM
Production Designer (PD) - in charge of all the visual elements to ensure the continuity of design throughout the production; coordinates artistic elements including sets, costumes and props. The Production Designer works closely with the Director when choosing locations or creating sets.

Art Director (AD) - designs and supervises the construction of all sets and scenery and
oversees the painting and dressing of all sets. There are as many as six job categories in the Art Department, from illustrators to draftspeople.

Set Decorator - responsible for research, acquisition and allocation of items required to dress the various sets. Set Decoration includes as many as seven different categories.

Costume Designer - responsible for researching, creating or obtaining appropriate costumes for each performer.

Key Hairstylist - in charge of hair styling for each character and maintaining the continuity and look of each individual. They are responsible for purchase, design and styling of any wigs or hairpieces that are used.

Key Make-up Artist - works to give each performer their particular make-up "look". The Key Make-up Artist is responsible for maintaining continuity and freshness of the make-up during the shoot (may use Assistants).

Property Master - obtains and provides all items that a performer picks up and uses. Props can include coffee mugs, spectacles, cameras, newspapers, rings, watches, suitcases or telephones, as well as food required for a scene. There are four or more categories in the department.

TECHNICAL CREW
Gaffer - the Head Lighting Technician, who works closely with the DOP and oversees the crew of lamp operators. There are as many as five categories in this department. The term Gaffer probably originates from old English theatre houses, where a stagehand would light candles around the proscenium arch and along the stage front, using a lighted candle at the end of a long "gaff " or pole.

Lamp Operators - the technicians who set the lights and related equipment, under the
direction of the Gaffer.

Key Grip - in charge of the crew in the grip department. They work with the Gaffer and the DOP to rig, support, flag or otherwise facilitate the shot. The grip department expands depending on the complexity of the production as they are responsible for providing equipment to assist other departments in setting the desired shot. The term Grip probably also originates from English theatre, where the stagehand carried his tools in a grip bag.

Dolly Grip - moves the dolly on which the camera sits for certain kinds of tracking shots.

2nd Grip, 2nd lighting - refers to the second in command in both the lighting department and the grip department. They are responsible for all departmental organization, equipment rental, extra staffing and departmental paperwork, working under the keys. Also, called Best Boy, the term originates from English theatre, where this work was generally done by the stagehand's son, or apprentice.

Head Greensperson - responsible for realizing set and location requirements related to shrubs, foliage, ground covers, etc. The Greens department must also maintain these set elements throughout the shooting.

Construction Coordinator - plans, delegates and supervises all work in conjunction with building the sets, including the work of draftspersons, buyers, metal fabricators, etc. The Construction Department also includes artists who work on models and miniatures (often used in conjunction with visual effects).

Paint Coordinator - supervises the painting of sets, props, back- drops, signs, graphics, etc.

Set Dresser - assists the Decorator by arranging and placing items and pieces obtained for the sets.

Costume Set Supervisor - responsible for all costume continuity and assists in dressing extras.

Special Effects Make-up - designs and devises the construction and application of facial or body prosthetics and body parts such as hair or teeth and/or any other specialized make-up. They may work with lab technicians, mold makers and occasionally the SPFX department. The size of the department varies according to the needs of the particular project.

Script Supervisor - keeps track of everything that happens in the shot; responsible for logging material shot and recording information about timing, lenses and filters, action and dialogue and ensuring continuity. The Script Supervisor maintains a log of scenes shot and 'owed'. Their notes and logs are used during editing. This is usually a one-person department.

Sound Mixer - records sound for each scene and level mixes for each take. They also record ambient or natural sound to be used in the background of a scene. Sound Mixers provide the auxiliary sound packs and headsets for the Director, Producer and Script Supervisor so that they can hear the performers' dialogue during a scene.

Boom Operator - handles the sound boom, as well as any microphones on set or placed on a performer.

Special Effects Coordinator - supervises all special effects needed on the set such as rain, fog, smoke, wind, steam, snow, explosions and fire. Another aspect of the department is the creation of mechanical effects such as break-away doors, fake walls, etc. The Special Effects department works closely with the Stunt Coordinator when developing any structures or devices that involve crew or performers. Safety is a priority. Size of the crew varies depending on the needs of the production. Special Effects should not be confused with Visual Effects.

First Aid/Craft Service - provides all on-set first aid and medical attention as well as serves light refreshments. Normally a one-person department, they must have a current Occupational First Aid Level 3 ticket.

TRANSPORTATION
Transportation Coordinator - responsible for all vehicles used during production, such as the honeywagons, starwagon, cable truck, cast vehicles, picture cars, etc. The Transportation Department includes Captain, Co-Captain and drivers.

Marine Coordinator - supervises the use and operation of any water vessels and the work of safety divers.

ACFC also provides security.
Teamsters provide security, mechanics and picture cars.

CATERING
Catering - provides food for the cast and crew (qualified chefs, sous-chefs, etc.).

WRANGLING
Wrangling - ACFC provides Animal Wranglers. Teamsters provide Wranglers, Animal Handlers & Trainers.

PERFORMERS TEAM
Actor - a Performer engaged to speak or mime five lines or less of dialogue or an actor whose performance constitutes an Individual Characterization even though there is no dialogue.

Animation Performer - a Performer engaged to voice a Role off camera in animated Production.

Announcer - a Performer engaged to deliver continuity or a message other than a commercial.

Background Performer (often called extra) - a Union and/or non-Union performer who has been engaged to provide non-speaking performance in a scene, provided that that performance is not sufficiently individualized so as to merit an "actor" designation.

Qualified Background Performer - a member of the Union or a person holding a work permit.

Choreographer - a Performer who creates and/or stages dance numbers.

Dancer - a dancer, skater or swimmer who is specially qualified to perform choreographed routines, e.g. dancer, skater, swimming.

Narrator or Commentator - a Performer engaged to perform narrative material or commentary on or off-camera.

Photographic Double - a Performer doubling photographically for a member of the cast during on-camera long shots and other scenes in which the photographic double is not recognizable.

Principal Actor - a Performer engaged to speak or mime six or more lines of dialogue or a Performer engaged to perform a major Role without dialogue (e.g. The
Ghost of Christmas Future).

Singer - a singer who is professionally qualified to sing.

Stunt Actor - a Stunt Performer who is engaged to play a Role, which may include up to ten words, and who performs stunt work.

Stunt Coordinator - responsible for the casting and supervision of Stunt Performers, the coordination of stunts and action sequences and the coordination of Performer action as required.

Stunt Performer - specially trained in the Performance of Stunt work.

Special Skills Extra - any Background Performer with an area of expertise, such as weaponry, horseback riding, skiing, etc.

Stand-in - a Performer engaged to replace physically another Performer during a set-up period.

Vocal or Dialogue Coach - engaged to coach Performers either in vocal or script delivery techniques.

PRODUCTION OFFICE TEAM
Production Coordinator (PC) - runs the production office under the guidelines of the Production Manager. Tasks include organizing equipment rentals, customs brokers, hotel rooms, relaying messages to and from set, etc. Depending on the size of the production, the PC may delegate tasks to an Assistant Production Coordinator and a number of Office Production Assistants.

Production Accountant - responsible for paying bills and maintaining financial records during production; must be knowledgeable of union, guild and government regulations. The Production Accountant may use an Assistant Accountant and Accounting Clerks to assist with the duties.

POST-PRODUCTION TEAM
Post-Production Supervisor - responsible for planning and managing all of the various aspects of finishing the film after shooting. The Post-Production Supervisor works with various facilities and departments (editing, animation, lab, graphics, visual effects, sound mix, foley, etc.) to insure that work flows efficiently from one to another.

Editor - assembles the film footage in accordance with the script. Working with the Director and/or Producer, the Editor selects appropriate takes and selects edit points for pacing. In smaller projects, the Editor may also serve as Post-Production Supervisor.

Music Director - responsible for selecting, acquiring or creating the music score, in consultation with the Director. The Music Director arranges for composers, musicians and recording facilities and provides guidance to the Sound Editor on the integration of music into the overall sound track.

Foley Artist - creates sound effects in a recording studio to match various sequences in the edited film.

Negative Cutter - edits the original negative film to match (conform) the final sequence of footage created by the Editor. In television production, film footage is normally transferred to video for the final assembly, so there is no need for a master negative.

Post Production Sound Mixer - combines the multiple sound tracks (dialogue, effects, music, etc.) into the final sound track for the film, incorporating transitions and adjusting levels for the effect desired by the Director.

Visual Effects Artist - is increasingly important for today's projects, utilizing CGI (computer-generated imaging) or digital processing to enhance, augment or repair film footage. Includes the use of shots made with blue screen, green screen, motion control, rear screen projection, miniatures, composites, animation, etc.

Colourist - plans and oversees the transfer of original footage to video, adjusting images for consistency and/or a desired effect.

Lab Technician - insures film processing quality. Includes Film Timers, who select the proper equipment settings for the different shots in a film when making a print.

The post-production industry is rapidly changing due to the increasing use of and rapid changeover in digital technology and techniques. Workers in this field must be prepared to constantly upgrade their skills.