film Flashcards
it is something like the center of a wheel, keeping all the other departments joined
together in order to make the whole production move forward.
The Assistant Director Department
_____ are responsible for handling daily call sheets and shepherding talent to
and from set.
The 2nd AD
it mandates simply to assist the director in achieving their vision. It is responsible for crafting the shooting schedule
THE 1ST AD
It helps to ease the AD department’s workload when a shoot’s scale or
degree of difficulty becomes larger than a small, standard team can handle.
2nd 2nd AD
_______ oftentimes receive a majority of their marching orders from professionals in
the AD department instead.
The set production assistant
Film crew positions within the ___________oversee the physical creation of all visual elements in a
film or television series.
THE ART DEPARTMENT
The__________ is the production designer’s second-in-command. They’re a field general, who organizes
and manages the rest of the art department film crew to get the job done.
THE ART DIRECTOR
The ___________ is the head of the art department. They work with the director and director of
photography to craft an overall look for a film, achieving it with the help of a wide variety of movie set
jobs found deeper within their department.
THE PRODUCTION DESIGNER
The _______ is a specialized role in charge of arranging the shooting set with furniture, decorations,
and other graphic elements.
THE SET DRESSER
The _________________is in charge of sourcing and organizing all non-weapon props used in a project.
PROP MASTER
The _________ is an all-around assistant dedicated to the art department
ART PRODUCTION ASSISTANT
________________is the literal focal point of image capture on any set.
THE CAMERA DEPARTMENT
At her or his core, the __________________is responsible for recording the images of a film in
accordance with a director’s vision. That means that they’re in charge of creating light, bending light, and
capturing light in a way that achieves an agreed upon look.
THE DIRECTOR OF PHOTOGRAPHY
___________________controls the camera during takes. They are skilled at creating smooth and precise
movements, using operating gear that may range from simple tripods to hand wheels or electronic
control systems.
THE CAMERA OPERATOR
_______is in charge of the set-up and on-set maintenance of the camera and
related accessories.
THE 1ST CAMERAPERSON
___________is in charge of organizing the camera crew’s gear, keeping records, and
assisting in any general camera team tasks.
The 2nd Assistant Cameraperson
______________is one of the newest standard film crew positions on the scene. Born
from the unique complications of shooting digitally, the DIT manages and troubleshoots all aspects of
the digital workflow as it exists on set.
The Digital Imaging Technician (DIT)
_____ creates light, collaborating with the grip department to execute the director of
photography’s lighting plan.
The Electric Department
____ is a production’s chief lighting technician and head of the electric department. They plan and coordinate the placement and powering of lights to achieve the level of illumination desired by the
director of photography.
The Gaffer
______ is the gaffer’s chief lieutenant, the second-in-command. They’re often
responsible for delegating day-to-day managerial tasks- like hiring personnel and maintaining
equipment- and are generally less directly involved in major creative decisions within the lighting plan.
The Best Boy Electric (BBE)
Better known simply as an “Electric,” ________ is responsible for getting
power anywhere and everywhere on set. They’re also instrumental in executing the lighting plan under
the guidance of the gaffer and best boy electric.
the Electrical Lighting Technician (ELT)
is responsible for managing any generators that a production brings to set.
The Generator Operator
If the electric department creates light, _______ takes it away.
the Grip Department
is the key grip’s second-in-command. They tackle sensitive managerial operations and
oversee the construction of more complicated grip elements.
The Best Boy Grip
______ is a grip dedicated to the set-up and operation of a dolly. They lay track, perform
maintenance, and help execute the complicated camera moves required by many films, television shows,
and commercials.
The Dolly Grip
________ is the head of the grip department. A natural counterpart and collaborator to the gaffer, it is similarly tasked with planning and coordinating grip elements to execute a lighting plan.
Unlike the gaffer, it is also the arbiter of safety on-set.
The Key Grip
physically executes the strategy laid out by the key grip, best boy, and director of photography.
On a union shoot, if literally anything needs moved on a set, you’ll almost certainly need a grip to move
it for you.
The Grip
Collectively referred to as “The Vanities”, _______ prepare on-camera talent for
the big screen. Their work can also be essential to executing special effects and maintaining on-screen
continuity.
the Hair & Make-Up Departments
_____ is in charge of setting the talent’s look for a given scene. They work closely with
not only the director but also the production designer, director of photography, and wardrobe designer
to craft a cohesive look that contributes to the film’s overall aesthetic.
The Key Make-Up Artist
Similarly, ______ is in charge of setting the talent’s hairstyle for a given scene. This requires a
diverse range of skills to account for multiple hair types, varying aesthetic requirements, and solving
unpredictable follicular problems.
the Key Hair Stylist
The Assistants within the Hair and make-up departments provide extra hands and eyes to carry out the
plans of their department head. The more principal or background talent that a production requires, the
more HMU assistant film crew positions you’ll likely find in the credits.
the hair and make-up assistants
Less common but no less important, ______ specializes in achieving
looks that go well-beyond the requirements of standard make-up and hair styling techniques.
the Special Effects (SPFX) Make-Up Artist
________ is responsible for choosing, coordinating, fitting, and constructing every
garment you see in a given film, television show, or commercial.
The Wardrobe Department
The Wardrobe Supervisor is an essentially managerial role within the costume department. They manage
existing wardrobe items and oversee the performance of all costumers and dressers working in the
department
The Wardrobe Supervisor
