Roles

300 entries · Page 1 of 5

• 2D Animator

  A 2D Animator creates movement and performance through drawn or digitally rigged images arranged over time. They establish key poses, breakdowns, timing, spacing, arcs, facial expression, lip sync, and overlap while following model sheets, layouts, dialogue, boards, and direction so characters remain expressive, readable, and consistent from frame to frame.

• A Camera Operator

  An A Camera Operator operates the production’s primary camera, usually covering the principal angle and establishing the framing and movement priorities around which additional cameras coordinate. They work closely with the Director, Cinematographer, actors, First AC, Dolly Grip, and B Camera Operator.

• Actor

  An Actor interprets a character for the camera or microphone through prepared choices, truthful behavior, voice, movement, timing, and repeatable performance. They audition, research and rehearse material, collaborate with the Director and fellow performers, adjust to blocking and technical requirements, maintain continuity across takes, and safely execute the emotional and physical demands of each scene.

• Additional Costumer

  An Additional Costumer joins the costume department for specific prep days, crowd calls, fittings, shooting units, or workload peaks. They pull and organize garments, assist fittings, dress performers, track assigned continuity, make approved alterations or repairs, manage returns and laundry, and follow the department’s labeling, paperwork, confidentiality, and chain-of-command systems without changing established design decisions.

• Additional Makeup Artist

  An Additional Makeup Artist joins for crowd days, second units, special looks, tests, or workload peaks and executes assigned makeup within the department’s approved design and sanitation system. They prepare their station, process performers efficiently, photograph continuity, maintain and reset looks, clean tools, track products, and report skin concerns, timing issues, or changes to department leadership.

• ADR Mixer

  An ADR Mixer records replacement dialogue, efforts, group voices, and pickups so performances synchronize with picture and can blend with production sound. They prepare the recording chain and cue system, choose microphones and acoustics, set clean levels, manage playback and talkback, label takes and metadata, preserve timing reference, and deliver organized recordings to ADR and dialogue editorial.

• ADR Supervisor

  An ADR Supervisor identifies dialogue that needs replacement or augmentation, prepares cue lists and reference, coordinates performers and recording sessions, guides line matching and performance with the Director, tracks alternate language or group work, edits and evaluates recorded takes, and delivers synchronized material that can blend convincingly with production dialogue in the final mix.

• Animation Director

  An Animation Director leads the performance, staging, timing, movement, and visual consistency of animated work. They interpret the script and boards, guide animators and supervisors, review blocking and finished shots, coordinate with design, layout, editorial, voice, and production teams, and keep the animation serving the project’s story, tone, schedule, and technical method.

• Animation Editor

  An Animation Editor builds and continually revises the project from storyboards, dialogue, temporary sound, layout, work-in-progress animation, and final shots. They shape timing, performance, comedy, action, and structure before material is fully animated, maintain current frame ranges and versions, and help Directors evaluate story choices while changes are still practical.

• Animation Layout Artist

  An Animation Layout Artist translates storyboards into production-ready scenes by establishing cameras, composition, lens or perspective, character and prop placement, environment scale, staging, screen direction, and movement paths. In 3D they block virtual sets and cameras; in 2D they prepare perspective and field guides that animators and background teams follow.

• Animation Production Assistant

  An Animation Production Assistant supports the team’s reviews, records, files, calendars, meetings, supplies, communication, and delivery logistics while learning the animation pipeline. They prepare dailies materials, update assigned status fields, organize reference, distribute notes, check naming and version information, and complete reliable follow-ups under a Coordinator or Production Manager.

• Animation Production Coordinator

  An Animation Production Coordinator maintains the daily shot, asset, schedule, note, meeting, review, and delivery records for an animation team. They prepare dailies, distribute current notes, follow up on assignments, verify handoffs, organize files and calendars, and make sure artists and supervisors know the correct priorities, versions, deadlines, and dependencies.

• Animation Production Manager

  An Animation Production Manager plans and controls the schedule, staffing, capacity, priorities, dependencies, approvals, and delivery flow for an animated production or department. They work with creative and technical supervisors to convert shot and asset scope into realistic plans, identify bottlenecks, rebalance resources, and keep teams moving without losing version accuracy or final-delivery requirements.

• Animation Supervisor

  An Animation Supervisor leads animators assigned to a character, sequence, discipline, or production area. They translate the Animation Director’s goals into shot-specific guidance, set performance and quality expectations, assign and review work, solve rig or workflow issues, mentor artists, and maintain continuity of movement, personality, timing, and polish across many shots.

• Animator

  An Animator creates the illusion of life by designing poses, movement, timing, weight, expression, and performance across a sequence of images or three-dimensional frames. They interpret storyboards, dialogue, reference, character rules, camera staging, and direction, then refine blocking through polished motion that communicates clear thought, emotion, action, and physical cause.

• Animatronics Technician

  An Animatronics Technician builds, assembles, cables, programs, operates, maintains, and repairs mechanical characters, creatures, props, or body parts that move for camera. They translate performance cues into reliable motion, coordinate shells and finishes with creature or art teams, manage power and control systems, rehearse with performers and camera, and complete fast resets without exposing cast or crew to moving mechanisms.

• Art Department Coordinator

  An Art Department Coordinator runs the department’s information and logistics systems. They organize crew, calendars, meetings, drawings, vendors, purchase records, files, deliveries, clearances, travel, and communication so Designers and Art Directors can move work from concept through build, shooting, and wrap.

• Art Director

  A film Art Director turns the Production Designer’s visual concept into buildable, scheduled, budget-aware work. They coordinate drawings, sets, construction, scenic, graphics, locations, approvals, and art-department labor so each environment is designed, built, dressed, and ready for photography.

• Assembly Editor

  An Assembly Editor builds an initial continuous version of scenes or episodes from incoming dailies, often while production is still shooting. They organize coverage, follow the script and continuity information, choose workable takes, lay in basic sound and temporary elements, identify missing material, and create a clear starting cut that the Picture Editor, Director, and Producers can evaluate and reshape.

• Assistant Art Director

  An Assistant Art Director supports Art Directors with script breakdowns, drawings, research, surveys, schedules, purchase tracking, approvals, set readiness, and communication. They may own smaller sets or workstreams while coordinating designers, graphics, construction, scenic, and production information.

• Assistant Camera

  An Assistant Camera supports camera preparation, operation, equipment handling, records, batteries, media, lenses, builds, carts, and troubleshooting. The title may describe a general assistant on a small crew or a position whose duties are divided into First AC, Second AC, loader, and digital utility roles on larger productions.

• Assistant Costume Designer

  An Assistant Costume Designer extends the Costume Designer’s creative work across research, character boards, sourcing, fittings, fabric, custom builds, background, scheduling, communication, and approvals. They may own assigned characters or units while keeping every decision aligned with the Designer’s overall concept.

• Assistant Editor

  An Assistant Editor builds and protects the technical workflow around the Editor. They ingest and organize media, sync picture and sound, prepare dailies and projects, track versions, create review exports, troubleshoot editorial systems, and assemble accurate turnovers for sound, music, visual effects, color, and delivery.

• Assistant Hair Stylist

  An Assistant Hair Stylist supports the hair department with station setup, sanitation, tools, products, wig and extension preparation, performer processing, continuity reference, touch-ups, resets, cleanup, and inventory. They work under department leadership, follow approved designs and product restrictions, protect performers’ hair and scalp, and communicate changes or concerns rather than independently altering established looks.

• Assistant Location Manager

  An Assistant Location Manager supports scouting, site preparation, permits, owner and neighborhood communication, parking, access, protection, field operations, restoration, and paperwork. They may own specific sites or tasks under the Location Manager or Key Assistant Location Manager.

• Assistant Makeup Department Head

  An Assistant Makeup Department Head helps the department head plan and execute makeup staffing, schedules, stations, products, continuity, tests, crowd work, sanitation, and daily performer coverage. They may lead assigned artists or units, translate approved designs into clear assignments, solve timing and supply problems, review continuity, and keep leadership informed without replacing the department head’s final creative and managerial authority.

• Assistant Production Manager

  An Assistant Production Manager supports the Production Manager with schedules, crew and vendor logistics, orders, locations, travel, transportation, facilities, approvals, and daily problem solving. They own delegated operational work while keeping decisions, costs, and changes visible to production leadership.

• Assistant Prop Master

  An Assistant Prop Master is the Prop Master’s senior deputy, organizing assigned crew, purchases, pickups, returns, fabrication, paperwork, carts, trucks, continuity, repairs, and on-set prop execution. They take ownership of delegated props or units, keep current information moving between shop and set, and help ensure that performers receive the correct safe, functional, camera-ready object for every take.

• Assistant Stunt Coordinator

  An Assistant Stunt Coordinator supports the Stunt Coordinator with breakdowns, performer and equipment logistics, rehearsals, documentation, department communication, site preparation, briefings, resets, and delegated supervision. They help maintain a consistent plan across simultaneous tasks or units while promptly reporting changes, hazards, readiness, and performer concerns to the department head.

• Associate Casting Director

  An Associate Casting Director is a senior casting team member who performs substantial creative and supervisory work under the Casting Director. They may lead searches, conduct auditions, evaluate performances, prepare select lists, manage staff, coordinate stakeholders, and run assigned roles, episodes, or sessions.

• Associate Producer

  An Associate Producer performs a defined portion of the producing work under senior Producers. Depending on the format, that may include research, development, casting, logistics, field production, post-production, clearances, talent coordination, or managing a specific workstream from planning through delivery.

• Audio Describer

  An Audio Describer writes or performs concise narration that communicates essential visual information to blind and low-vision audiences during natural gaps in dialogue and important sound. They identify story-relevant action, appearance, setting, text, gesture, and visual change; choose neutral precise language; time descriptions carefully; avoid duplicating audible information; and collaborate through recording, editorial, review, and accessibility quality control.

• B Camera Operator

  A B Camera Operator runs an additional camera that captures complementary coverage alongside A camera. They find useful angles without entering the primary frame, protect eyelines and lighting, coordinate lenses and timing, and adapt quickly when the additional camera must become the principal or specialty angle.

• Background Actor

  A Background Actor creates the believable population around principal action without drawing unintended focus. They follow wardrobe, hair, makeup, props, blocking, continuity, and reset instructions; repeat crosses and business across multiple takes; react naturally within the scene; remain available through holding and coverage; and help the Assistant Directors maintain a consistent living environment around the story.

• Background Artist

  A Background Artist designs or paints the environments behind animated action, creating locations that support story, mood, geography, lighting, depth, and style without distracting from character performance. They follow layout and art direction, maintain perspective and scale, build reusable location continuity, and deliver layered or production-ready artwork for compositing and camera movement.

• Best Boy Electric

  A Best Boy Electric is the Gaffer’s lead assistant and the operational coordinator of the electric crew. They organize labor, equipment, orders, timecards, trucks, power logistics, and communication so the Gaffer can concentrate on executing the Cinematographer’s lighting plan.

• Best Boy Grip

  A Best Boy Grip is the Key Grip’s lead assistant and the day-to-day coordinator of the grip department. They organize crew, equipment, trucks, orders, timecards, rigging logistics, and communication so grip work for light shaping, camera support, and safe mounting stays ready and accountable.

• Body Paint Makeup Artist

  A Body Paint Makeup Artist designs or applies approved color, texture, markings, tattoos, fantasy finishes, camouflage, or coverage across larger areas of a performer’s body. They test products and removal, protect skin and privacy, plan modesty and access, match continuity, coordinate costumes and prosthetics, manage transfer and drying, and maintain safe sanitary application through long shooting days.

• Boom Operator

  A Boom Operator positions a directional microphone close to performers but outside the camera frame to capture clear, natural dialogue. They study blocking and lens coverage, choose microphone and placement, rehearse movement, avoid shadows and noise, manage the pole and cable or transmitter, and communicate sound problems to the Mixer.

• Camera Intern

  A Camera Intern observes and supports a camera department within the limits of a formal internship or training placement. They learn set protocol, equipment names, media and battery routines, lens and camera care, paperwork, safety, and departmental workflow without replacing a paid crew classification or performing tasks beyond their supervision.

• Camera Loader

  A Camera Loader prepares, loads, unloads, labels, tracks, and protects film magazines and exposed negative under light-controlled conditions. They maintain stock and camera reports, coordinate laboratory shipments, and make sure each roll’s identity and handling remain accurate from raw stock through processing.

• Camera Operator

  A Camera Operator controls framing and camera movement during a take. Working from the Director and Cinematographer’s plan, they compose shots, execute pans, tilts, handheld or supported moves, respond to performance and blocking, and communicate precise camera needs to assistants and grips.

• Camera Scenic Artist

  A Camera Scenic Artist stays close to the shooting unit to make fast, camera-specific paint, texture, aging, cleanup, and repair adjustments after scenery is lit, dressed, moved, weathered, or damaged. They match established colors and recipes, protect performers and equipment, coordinate access between setups, photograph continuity, and solve visible finish problems without introducing unapproved changes or delaying the set unnecessarily.

• Camera Trainee

  A Camera Trainee is an entry-level camera department crew member learning professional prep, equipment handling, slating, batteries, media, reports, marks, lens support, and set procedure under experienced assistants. They complete assigned support work carefully while building the technical habits and communication needed for assistant-camera responsibility.

• Cast Costumer

  A Cast Costumer is assigned to one or more principal performers and manages their fittings, daily wardrobe, dressing, changes, continuity, comfort, maintenance, repairs, laundry, and communication. They provide a trusted, discreet link between the performer and the costume department.

• Cast Driver

  A Cast Driver transports performers safely, discreetly, and punctually among pickup points, base camp, set, fittings, rehearsals, airports, hotels, and approved destinations. They maintain vehicle readiness, follow dispatch and production instructions, protect confidential schedules and conversations, communicate delays without distracting performers, and coordinate arrivals with AD, base-camp, hair, makeup, costume, and security teams.

• Casting Assistant

  A Casting Assistant supports auditions and casting-office operations by scheduling performers, preparing sides and session links, processing submissions, labeling media, maintaining databases, communicating instructions, organizing readers and rooms, and keeping confidential records accurate and current.

• Casting Associate

  A Casting Associate supports and may lead delegated creative casting work, including searches, submissions, auditions, session preparation, performer research, select lists, availability, and communication. The title’s seniority varies, so the actual scope should be understood from the production and credit structure.

• Casting Consultant

  A Casting Consultant advises a production or Casting Director on a defined casting problem such as regional authenticity, language, disability, community outreach, specialized performance, international talent, or a difficult search. They research and recommend talent or sources, review materials, explain context, support outreach, and identify risks while staying within the agreed scope rather than assuming the Casting Director’s full authority.

• Casting Coordinator

  A Casting Coordinator manages the calendars, sessions, facilities, readers, travel, communication, databases, paperwork, vendors, cuts, and status tracking that support a casting office. They keep high-volume creative work organized without losing candidate privacy, version accuracy, or follow-up.

• Casting Director

  A Casting Director leads the search, evaluation, audition, negotiation support, and presentation process for performers. They interpret character needs with the Director and Producers, build candidate lists, run auditions and callbacks, advise on ensembles and availability, and protect a professional, equitable, confidential process through final selections.

• Casting Researcher

  A Casting Researcher finds and verifies potential performers, experts, real people, communities, representatives, credits, availability signals, and background information for a defined casting search. They use approved sources and outreach methods, document findings, distinguish verified facts from leads, respect privacy and consent, and present organized options to the Casting Director rather than contacting or promising roles without authorization.

• Casting Scout

  A Casting Scout searches beyond routine submissions to identify performers, communities, specialists, real people, or emerging talent suited to specific roles. They research in relevant places, build trust, document prospects, explain the process clearly, and pass qualified leads to the Casting Director without promising employment.

• Catering Assistant

  A Catering Assistant supports the production catering team with ingredient prep, loading, transport, meal setup, service, replenishment, dishwashing, sanitation, and breakdown. They follow menu and dietary instructions, maintain separation and labeling, monitor supplies and food temperatures, help serve a large company within a limited meal period, and restore the kitchen or location promptly for the next service.

• CG Artist

  A CG Artist creates computer-generated visual material for film, television, advertising, animation, or immersive media. Depending on the assignment, they may model, texture, light, animate, simulate, render, or integrate assets and shots while following design references, technical specifications, naming rules, review notes, and the production’s color and pipeline requirements.

• Character Designer

  A Character Designer develops the appearance, shape language, proportions, costume, expression, pose vocabulary, and practical construction of animated characters. They explore options from the story and art direction, create model sheets and turnarounds, solve how designs work from multiple views, and provide consistent guidance for boards, modeling, rigging, animation, and marketing.

• Charge Scenic Artist

  A Charge Scenic Artist leads the scenic department that applies paint, texture, aging, plaster, finishes, murals, signage, treatments, and environmental detail to sets. They translate the Production Designer’s and Art Director’s approved look into samples, recipes, crew assignments, material plans, schedules, and quality control while coordinating construction readiness, drying time, continuity, repairs, and strike.

• Cinematographer

  A Cinematographer, also called a Director of Photography or DP, translates the Director’s story and visual intent into images. They design the photographic approach, select camera and lens strategies, shape lighting with the Gaffer and grip team, supervise camera work, and protect image consistency through production and finishing.

• Clapper Loader

  A Clapper Loader combines accurate slating with film-loading and camera-record duties. They prepare the slate, identify scenes and takes, maintain camera reports, load or track magazines, label exposed stock, and help the First AC keep the camera team organized and ready.

• Color Grading Specialist

  A Color Grading Specialist shapes and balances the finished image by matching shots, controlling exposure and color, supporting visual mood, managing skin tones and selective corrections, and preparing approved looks for required display formats. They work from calibrated monitoring and color-managed media, communicate with the Cinematographer and Director, track versions, and verify that creative intent survives mastering and delivery transforms.

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