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| An investor in the project or just a credit the filmmaker gave to someone who paid for the credit. |
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| Oversees the budgetary and physical production needs of the shoot. He will oversee the execution of a multitude of decisions that must be made on each days shoot. |
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| Supervises the physical aspects of the production. Including personnel, technology, budget, and scheduling. |
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| Fulfills same role as production manager but just for secondary unit shooting. Subsumes the role of the Transport Coordinator. |
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| Information nexus of the production. Responsible for organizing all the logistics from the hiring crew, renting equipment, and booking talent. |
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| Post-Production Supervisor |
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| Maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, and the facilities companies. |
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| Responsible for overseeing the creative aspects of a film. Contols content and flow of the films plot, directs performances of actors, and organizes the locations in which the film will be shot. |
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| Assists the production manager and director. Ensures the film comes in on shcedule and maintains a working environment in which the director, and crew can be focused on work. Oversee day to day management of the cast and crew scheduling, equipment, and set. |
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| Second Assistant Director |
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| Helps carry out those tasks delegated to the 1st AD. 2nd AD will direct background action and extras and help the first AD with scheduling and booking etc. |
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| Assists the first assistant director with set operations. Assist the production office with general tasks. |
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| 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. Make notes on every shot, keep track of props. |
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| Arranges casting and performance of the stunt. |
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| Responsible for creating the physical, visual appearance of the film-settings, costumes, properties, character makeup, and works to achieve "look" of the film. |
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| Reports to the production designer and oversees artists and craftspeople. Such as set designers, graphic artists, and illustrators. |
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| Carry out the instructions of the art director. They measure locations, create graphics and paper props and collect information for the production designer. |
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| Draftsman, often an architect, who realizes the structures called for by the production designer. |
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| Illustrates visual representations to communicate the ideas imaged by the production designer. |
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| In charge of decorating the film set, such as furnishings and other objects that will be seen in the film. |
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| Foreman of the sets crew often referred to as the swing gang. |
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| Apply and remove the dressing, such as furniture, drapery, carpets, and everything you find in a location like doorknobs and wall sockets. |
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| In charge of finding and managing all the props that appear in the film. |
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| Builds the props that are used for the film. |
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| Specialized props technician who deals with firearms. |
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| Oversees the construction of all the sets. Orders materials, schedules the work, and supervises the sizeable construction crew of carpenters, painters, and labourers. |
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| Foremen of a gang of carpenters and laborers. |
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| Responsible for the surface treatments of the sets. Special paint treatments, such as aging, gilding, and simulating the appearance of wood, stone, brick, metal, stained glass. |
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| Deals with the artistic arrangement or landscape design of plant material. |
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| Works with make up, hair and special effects to create the characters look for anyone appearing on screen. Manipulate the on screen appearance of the actors. |
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| Responsible for maintaining and styling the hair of anyone appearing on screen. |
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| Responsible for all the clothing and costumes worn by all the actors on screen. Responsible for designing, planning, and oranizing the consruction of the garments down to the fabric, colors, and sizes. |
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| Works closely with the designer, manage wardrobe space, and supervise construction of garments and the hiring and firing of support staff etc. |
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| Employed on larger productions to manage the set costumers and handle the wardrobe needs. |
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| His or her responsibilitty to monitor the quality and continuity of the actors and actresses costumes before and during the takes. |
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| Chief of the camera and lighting crew of the film. Makes decisions on lighting and framing of scenes in conjunction with the director. |
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| Uses the camera at the direction of the cinematographer, director of photography, and director to capture the scenes on film. |
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| Responsible for keeping the camera in focus at it is shooting. |
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| Second Assistant Director |
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| Operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes. |
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| They transfer the motion picture film from the manufactureres light tight canisters to the camera magazines for attachment to the camera by the 2nd AC. |
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| Camera Production Assistant |
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| Camera PA assists the crew with menial details while learning the trade of the camera assistant, operator, or cinematographer. |
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| Digital Imaging Technician |
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| Responsible for the coordination of the internal workings of the digital camera. |
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| Someone who is skilled at operating a steadicam. |
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| Motion Control Technician |
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| Operates a motion control rig. |
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| Trained lighting and rigging technicians. They work closely with electrical department to put in lighting set ups required for a shot. |
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| Chief grip on a set and is the head of the set operations department. |
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| Best Boy is the chief assistant to the key grip. |
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| The grip in charge of operating the camera dolly. They place, level, and move the dolly track then push and pull the dolly. |
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| Head of the electrical department, responsible for the design and execution of the lighting plan for a production. |
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| Chief assistant to the gaffer. |
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| Involved with setting up and controlling lighting equipment. |
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| Head of the sound department on set, responsible for recording all sound during filming. |
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| Responsible for microphone placement and movement during filming. Uses boom pole, to place microphone above or below the shot. |
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| Pulls cables but often is an additional boom operator or mixer. |
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| May be permitted by the editor to do some creative work, comments on the editors work, cutting ttemporary sound effects and music into tracks, and sometimes edits scenes. Oversees the creation of optical effects like fades and dissolves etc. |
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| Adjusts the color of the film via printer lights for greater consistency in the films colors. |
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| Visual Effects Supervisor |
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| Refer to post-production alterations to the films images. |
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| Responsible for Composite images from different sources such as video, film, computer generated 3D imagery, 2D animations etc. |
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| Artists who rotoscope the footage and manually creating mattes for use in compositing. May paint visual information into or out of the scene. |
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| Draw entire sets or extend portions of an existing set. |
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| In charge of the post production sound of a movie. |
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| Responsible for assembling and editing all the dialog in the soundtrack. |
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| Responsible for assemblign and editing all the sound effects in the soundtrack. |
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| Balances all of the sounds prepared by the dialogue, music, and effects editors and finalizes the films audio track. |
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| Works with composer, mixers, and editors to create and integrate the films music. |
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| Responsible for writing the musical score for a film. |
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| Creates and records the many sound effects for a film. |
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