See full version: Is 1st ad a crew head position
Where most everyone starts out. :o)
The PA is more or less the assistant to everyone on set. They might grab gear, get lunch, take notes or do whatever else needs to be done. In some instances the PA may have the chance to help with the camera or lighting department. Although they are at the bottom of the food chain, a good PA is a must to keep things on schedule and maintain steam throughout the day.
For us, the LD (or sometimes gaffer) is responsible for coordinating the necessary lights needed in order to carry out the look of the film decided by the director and DP. He works directly with the director and DP to make sure the lights achieve the correct look. The LD uses a key grip, gaffers and even production assistants to place lights and rig anything needed to complete the look. [links]
And, when dealing with talent, the director should be the only one directing them. They oversee technical details as well, such as camera position, use of lighting and anything that effects the final product.
The camera operator operates the camera. Pretty straight forward, right?
After choices have been made on color profile, exposure, and gear, the DP directs the operator with the specific framing and movements are needed. here
The 1st AD is mainly responsible for scheduling on set. He wrangles talent, keeps the crew on time, and assists the director and producer. In some cases, the 1st AD also checks off the shot list, assuring lines are read as intended and the correct props are in the proper place.
The 1st AC is primarily responsible for pulling focus. On a typical 522 Production, the 1st AC may also be the camera operator. Along with pulling focus, our 1st AC is responsible for having batteries charged, media ready and even holding on to the camera between takes to give the DP or camera operator a break. here
The production office is referred to as the “front office” and includes staff such as the production manager, production coordinator, and their assistants; the accounting staff; the assistant directors; sometimes the locations manager and assistants. The following are jobs within the production office: [links]
The Producer runs the filmmaking business as they help the screenwriter write the script, casting directors to find the cast, hire the crew for the production, and find the money to make the movie happen.
Hopefully, if you were ever interested in joining the film/tv industry, then this will give you an idea of each of the crew members’ responsibilities. [links]
The art department is responsible for the overall look of the film. In a notable movie, it can include hundreds of people. Generally, there are several sub-departments, including an art director and set designers; the set decoration; the props master; construction headed by the construction coordinator; scenic directed by the key scenic artist and special effects. [links]
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A digital loader works with memory cards, rather than film stock. Digital loaders manage inventory and back up footage. They work alongside the digital imaging technician to manage the digital data. The position is not very common on set, as 2nd ACs typically manage memory cards and give them directly to the DIT.
Image: Director of Photography Roger Deakins on set of Skyfall, via filmmakeriq.com [links]
Image: Digital Imaging Technician Von Thomas, via Digital Tech NYC
The loader is responsible for the actual medium that the camera shoots on, whether film stock or digital cards. Historically, the film loader was responsible for putting film into camera magazines. They would go into a dark room to open light-tight canisters of film stock to load into the magazine. They would then give the magazine to the 2nd AC, who would put it on the camera. When the 2nd AC finished a reel, the film loader would then take the footage back to their dark room or tent. The film loader puts the footage back into the light-tight canister and labels it for transport to the development lab.
The director of photography (DP or DoP) manages the camera department, lighting department, electrical, and grips. They are the chief of the camera crew. The film’s director will tell the DP how they want a shot to look. They will then work with these departments to choose cameras, lenses, filters, shot composition, light design and setup, and any necessary gear.
The second assistant camera will also tape down camera marks, the points where actors will perform. They update camera reports with camera settings, like aperture and focal length. This is recorded for any future pick-up shots or reshoots. here
Special Effects Coordinator – The special effects coordinator designs and supervises the various effects needed for filming through the use of mechanical and/or optical illusion techniques. The special effects coordinator provides the visual elements needed such as recreating weather elements or assisting with props that break, shatter, collapse, burn, smoke or explode. They also provide the special mechanical rigging that allows you to fly an actor.
Camera Operator (Aerial) – The aerial photographer or camera operator is qualified and equipped to film aboard aerial devices. This usually refers to small airplanes and helicopter filming, but more recently, the use of drone cameras are being widely used as well.
Grip – Grips essentially “shape the light” that is provided by the electricians. This includes creating pattern and shadow effects, coloring light, diffusing light or blocking light. While electricians set up the lights and cabling, grips provide everything else that is built around the lights to create the quality of light that the gaffer desires. They also provide a variety of special rigging, securing and safety measures on set. more
Food Stylist – The food stylist will prepare and arrange food in an appealing way to be used in photographs, commercials or movies. This person usually has an extensive background in cooking, recipe development, and the ability to achieve creative solutions for making the food look its most attractive. more
Scenic Artist / Painter – The scenic artist is in charge of designing and treating all of the set surfaces. This may include painting, plastering, coloring, texturing or applying any other sort of treatment to the set surfaces to create a look. Often times the scenic artist simulates stone, wood, lettering, metallic or brick on the various sets and scenery.
Production Designer – The production designer works with the director and is primarily responsible for the design and overall visual “look” and “feel” of a movie. This includes the use of costumes, landscapes, props and other visual scenery that could reflect the movie script. [links]