Ultimate Guide to Film Crew Positions (Jobs & Duties Explained)

A 1st Assistant Camera, aka 1st AC, aka Focus Puller, is responsible for controlling the focus of a shot in progress. This can entail keeping a subject in focus for a shot’s duration or racking focus mid-shot.

The 1st AC is part of the camera team and also shares the responsibilities of loading/unloading gear and assisting the camera operator and DP when necessary. The first AC works as part of the film camera crew.

A 2nd Assistant Camera, aka 2nd AC, is a part of the camera team and is responsible for tracking and maintaining camera gear and accessories such as camera lenses, building camera rigs, and operating the clapboard.

The 2nd AC is a part of the film camera crew and they keep a log of the technical details for every shot recorded. They also set the marks used by actors and the 1st AC for focus.

The Best Boy is the name given to the Key Grip’s right hand person. Best Boys are members of the Grip and Electric (G&E) department with more responsibility than the other Grips as they directly assist the Key Grip and delegate responsibilities. The Best Boy is a key member in the lighting film crew. Continue learning with our full best boy job description.

A Best Boy is the assistant to either the Gaffer or Key Grip on set. This means that there are two types of Best Boys: one for electric (Gaffer) and one for lighting/rigging (Key Grip). As the assistants, they are effectively the foreman for their respective departments. The best boy is responsible for helping the Gaffer with electric equipment on the set, assisting the Key Grip with lighting arrangements, and ordering and maintaining inventory.

The etymology surrounding the term is not very concrete. It’s one of those things that would be said on various sets and the name eventually stuck. One popular theory is that the term was used as a short way of describing the Gaffer’s first lighting assistant, which would mean getting someone’s “best boy” on the set.

A Camera Operator, often shortened to “Cam Op,” is one of the most important of all camera crew roles. The Cam Op responsible for operating the camera during the shoot. This includes locked-off static shots as well as hand-held shots or with the use of a variety of camera rigs.

Steadicams are typically used by specialized operators.

The Dolly Grip is the member of the Grip and Electric department who specializes in camera dollies. They operate the dolly during dolly shots and are responsible for ensuring that dolly track is laid correctly beforehand.

A director of photography, aka DP, aka cinematographer, oversees both the camera team and the grip and electric department, and is responsible for everything having to do with the camera and lighting techniques. The best cinematographers use their technical expertise to light and shoot scenes in accordance with the Director’s vision.

Be sure to read our dedicated article on the role of the director of photography.

An electrician in film works in the grip and electric department and answers directly to the Gaffer. The electrician’s job can be in Pre-Production when wiring up sets and conducting tech rehearsals in advance of the shoot.

During production, an electrician will rig lights, run cables, and ensure a steady flow of power for lights and equipment either on set or on location.

A Key Grip is responsible for, and in charge of, all the non-electrical gear on set as well as supervising the Grips working in the department. They are also responsible for on set safety.

A key grip works alongside the Gaffer to execute the Director of Photography’s plan for camera and lighting. The key grip also takes inventories and keeps track of all grip equipment before, during, and after the shoot. When given tasks, typically from the gaffer or DP, the key grip supervises and assigns grips to needed tasks.  Key grips also build and rig whatever is needed to support the lighting and shooting of a scene. This requires creativity as well as solid mathematical and physics knowledge.

The Gaffer is the head of lighting and power and works within the grip and electric department. Gaffers answers directly to the Cinematographer and collaborates with the Key Grip to ensure the desired look of the film comes to fruition. To learn more, read through our dedicated article the duties and responsibilities of a gaffer.

A 1st Assistant Director, aka 1st AD, has many responsibilities both on set during production and off set during the Pre-Production process. The 1st AD participates in creating the shooting schedule with regard to on-set time and efficiency. The 1st AD can work with the 2nd AD to prep call sheets and plan out the logistical side of principal photography.

During production, the 1st AD is in charge of running the set and keeping things on schedule, as well as helping to solve scheduling and logistical issues as they arise. The 1st AD must always be mindful of time while on set.

You can learn more about the duties and responsibilities of the 1st AD in our full position breakdown post.

A 2nd Assistant Director, aka 2nd AD, has two primary responsibilities during principal photography. The first is the making and distribution of daily call sheets. The second is to take care of the talent, keep them informed, and shepherd them to and from set as needed.

A 2nd AD may also be in charge of coordinating, arranging extras on set, as well as any other 2nd AD hacks that keep the production running.  

A 2nd 2nd AD helps to share the responsibilities of the directorial department on large-scale film shoots. If the workload and/or the number of cast members or extras is too high for a 2nd AD to bear on their own, a 2nd 2nd AD helps to divide up the responsibilities to keep anyone from being overwhelmed.

If a 2nd 2nd AD is present for a shoot, it is typically their responsibility to handle the coordination of extras. On extremely large films there may be additional 2nd ADs added as necessary.

You may find 3rd ADs, 4th ADs, and so on. Each of these positions shares the same workload to meet the demands of the largest film projects. When it comes time to find and hire a movie crew, there are a number of different approaches and decisions to make along the way.

Being familiar with the intricacies of each role can help in the hiring process.

The Casting Director organizes and manages the casting process for a film. This can involve holding casting calls and auditions, orchestrating and receiving taped auditions, or coordinating with talent who may not be required to audition. The Director and Producers review the talent put forth by the Casting Director for hiring consideration.

If you are interested in casting, we have a guide on how to become a Casting Director that can get you started in the right direction.

The Director is the creative head of the film. They are involved in every stage of the production process and have the final say on the vast majority of creative decisions, though the studio or Producer can sometimes veto certain choices.

It is the Director’s vision for the film that everyone is trying to achieve by working on the production. If you’re interested in directing, then be sure to read our guide on how to be a Director.

The Costume Designer is the head of the wardrobe department and is responsible for matching costumes to characters that appear on screen. This includes the wardrobe for principal talent and can include the wardrobe worn by extras as well. Many costumes can be purchased or rented, but custom-made wardrobes are very common.

A Boom Operator, often shortened to ‘Boom Op,’ is in charge of operating the boom microphone and capturing clean audio without dipping the microphone into the shot.

Boom Operators may find themselves in constant motion within shots containing a great deal of movement from the cast and/or camera.

Recording audio is a massively important task so make sure you hire the best person for the job.

A Sound Assistant helps the rest of the sound team perform their roles better. The Sound Assistant’s job can be more varied than the other positions within the production sound department.

They may find themselves changing batteries, attaching lav mics to talent, wrangling cables, or straightening up the audio cart.

The on-set Sound Mixer, sometimes called the Audio Mixer, is responsible for setting and balancing audio levels during principal photography. This can frequently require mixing multiple microphones at once and adjusting levels within shots as actor volumes fluctuate up or down. The Sound Mixer is the head of the sound team on set.

The Stunt Coordinator is the head of the stunt team for a film shoot. Many Stunt Coordinators have a dedicated team of stunt performers that they bring with them from project to project. Stunt Coordinators plan out each stunt in a film and ensure that it is done safely.

They also help in securing well-fit Stunt Doubles and train Stunt Performers as well as talent if they are doing any of their own stunts.

The Special Effects Coordinator is in charge of the special effects taking place on set; this does not include additional special effects done in post-production. Special Effects Coordinators may work with a team of technicians or specialists in certain SPFX fields such as pyrotechnics or puppetry.

The VFX Supervisor is a Post-Production VFX specialist who is present on set. They oversee filming and ensure that what is happening on set lines up with the Post-Production plan.

If an aspect of shooting will make the VFX done in Post considerably more difficult or impossible, they may offer guidance or an alternative to ensure that problems do not arise further down the production pipeline.

Our article on the intricacies of VFX is a must-read for anyone considering becoming a VFX supervisor.

A Location Scout finds and secures the necessary locations present in the screenplay. Location Scouts may work alongside a Location Manager to handle logistics, permits, and the interactions with the surrounding community when applicable. If you are interested in becoming a Location Scout, be sure to check out our helpful guide and our Location Scout checklist and cheat sheet.

Film sets typically have catered meals during the lunch break, and the Caterer, aka Head Caterer if they are running a team, is in charge of preparing and laying out the hot food for the cast and crew.

A caterer may prepare separate meals for cast or crew with allergies or dietary restrictions. The caterer is not in charge of crafty (craft services).

An Associate Producer, aka AP, has a wide range of constantly changing duties. Each day on set, an Associate Producer may find themself tasked with a completely different set of responsibilities. Put simply, an AP helps out wherever they are needed and wherever than can be of the most use. That might assisting the wardrobe department or in helping to arrange transportation. You can think of it like a technical, jack-of-trades position. 

For more information, be sure to read through our article on the role of an Associate Producer.

A Producer is at the top of the food chain of a production. The Producer handles the business side of a film and is sometimes involved in the creative side as well. A Producer may have the initial concept for a film and bring a Screenwriter in to bring that idea to life.

Producers are involved in securing financing for the film, hiring cast and crew, and making all above the line decisions. Be sure to take a look at our expanded Producer explanation post if you are interested in becoming one yourself.

An Executive Producer in film is involved in the financing of the production. In television production, the role of an Executive Producer is much different, so do not mistake them. In film, an EP’s involvement may end after their financial contribution but some Producers remain involved throughout the entire production process.

Learn more about the role of an executive producer in our dedicated article.

A Line Producer’s primary responsibility is to manage the budget. They serve as a go-between for above-the-line and below-the-line crew. A Producer will typically bring a Line Producer onto a project early on to have them devise a budget. This budget will then be raised through Financiers and Executive Producers afterwards.

The Line Producer is involved in the hiring of crew and the managing of the schedule once principal photography has begun. Be sure to read our line producer guide if you are interested in becoming one yourself.

An Office PA holds a similar station and performs much the same role as a set PA but they perform their duties back at the production office. The job of an office PA typically begins in Pre-Production, long before set PAs are brought onto a project.

An office PA assists in any way necessary to aid in the smooth running of the production office. Office PAs primarily report to the Production Coordinator and help with tasks such as printing and copying, running errands, and answering phone calls.

Take a look at our detailed Production Assistant job description if you are interested in becoming one yourself

A PA, aka Production Assistant, also sometimes called a Producer’s Assistant, is an entry level film set job that performs a wide range of tasks depending on the needs of the film set at any given moment.

A film set is likely to make use of multiple PAs. PAs answer directly to the Key PA who will delegate responsibilities to answer the needs of the the department heads. Take a look at our detailed production assistant job description if you are interested in becoming one yourself.

A Production Coordinator works out of the production office and works to ensure that a production runs smoothly from all angles. The Production Coordinator often serves as a liaison between different departments and keeps everyone informed of changes and updates as they occur. Be sure to look through our Production Coordinator tips if you are interested in becoming one.

The Unit Production Manager, aka UPM, is in charge of all production reports, contracts, and crew deal memos. A UPM organizes all of these forms and is responsible for making sure that they are all properly signed. The UPM answers directly to the Line Producer.

An art director works alongside the production designer to oversee the construction and decoration of the film’s sets and locations. On a low-budget production, the duties of the art director and production designer may be combined into a single position.

Short film crew positions are also typically far more limited than a major feature-film. The art director is also responsible for visible signage on set and for breaking down a script for key props and decorations, oftentimes with the assistance of the 1st AD.

For more information on the job of an art director, read our extended article.

The Production Designer is the head of the art department. They are responsible for designing and overseeing the construction of sets as well as ensuring that sets and locations are properly dressed for shooting. Production designers are often involved in the location scouting process as well.

If you interested in becoming a production designer, be sure to read our in depth article on the role.

A driver on a production crew is essentially the same role as a driver in any other business. Drivers on a movie crew will transport cast or crew, either to and from the set, or between different shooting locations throughout the day.

A driver may also be used for other purposes such as running equipment or props if basecamp is far away from the shoot location or if a trip back to the studio proves necessary.

The Prop Master is in charge of acquiring, arranging, distributing, and tracking all of the props necessary to a film shoot, except for prop weapons as those are the responsibility of the Armorer or Weapons Wrangler.

The Prop Master is also in charge of maintaining, repairing or replacing props as need be. Duplicates are often required for props that may be damaged/destroyed in the course of filming.

A Scenic Artist is a creative professional who crafts the visual elements of a performance space. They are the masterminds behind the detailed backdrops, intricate props, and immersive environments you see in theater productions, films, and television shows.

Their work is not merely about painting a picture—it's about creating a world that can envelop an audience and transport them into the narrative being unfolded.

The Set Decorator chooses and gathers all of the furniture and decorations that will appear on a film set. They provide directions to the Set Dresser who will assist in arranging everything on set and ensuring that the set is camera-ready. On smaller film shoots, the Set Dresser and Set Decorator may be combined into one position.

A Screenwriter is responsible for the writing a script for a film, sometimes alongside a co-writer, or taking over as a replacement writer. The screenwriter’s duties do not end with Pre-Production. Re-writes may be necessary throughout a shoot and it is the screenwriter’s job to ensure the changes, additions, or cuts are made in a timely manner and stay true to the overall vision of the film. If you are a screenwriter or interested in becoming one, be sure to take a look at our tips for writing dialogue.

The digital imaging technician, often abbreviated as DIT, is only found on film crews shooting digitally, it is not a role that exists when shooting on film. The DIT works with the camera team to optimize settings, workflow, and signal inputs to ease the process of ingesting footage.

The Key PA is in charge of the other PAs on set. A higher-level crew member may inform the Key PA of something that needs doing, the Key PA will then delegate responsibilities to the other PAs and ensure that everyone is working on the appropriate goals.

Take a look at our detailed production assistant job description if you are interested in becoming one yourself. PA is an entry level and the Key PA position can be worked up to.