Roles

300 entries · Page 2 of 5

• Color Scientist

  A Color Scientist designs, evaluates, and documents the color-management systems that translate camera data, visual effects, editorial media, grading decisions, displays, and delivery formats into predictable images. They characterize transforms and devices, test gamut and tone behavior, diagnose mismatches, collaborate with Cinematographers and post teams, and create technically defensible pipelines that preserve creative intent across changing software and viewing conditions.

• Colorist

  A Film Colorist balances and shapes the color, contrast, density, and visual consistency of the finished picture. Working with the Cinematographer and Director, they match shots, preserve skin tones and exposure, build creative looks, manage color spaces and HDR or SDR outputs, and render approved masters.

• Comedian

  A Comedian develops and performs material designed to create laughter through point of view, writing, timing, character, improvisation, physicality, or audience interaction. For filmed work they adapt delivery to cameras, coverage, edits, standards, and repeatability; collaborate with Directors and Producers; refine material through rehearsal or live testing; and respond to the tone of each production.

• Composer

  A film and television Composer writes original music that supports story, character, emotion, pace, setting, and structure. They develop themes and a musical language with the Director, create demos and cues to picture, revise through spotting and review, coordinate orchestrators, musicians, programmers, recording and mixing teams, and deliver approved score masters, stems, sessions, and documentation on schedule.

• Compositing Supervisor

  A Compositing Supervisor leads the team responsible for final image integration on a project, facility, or sequence. They establish compositing methodology and templates, assign work, review shots, troubleshoot difficult keys and integrations, coordinate upstream renders and downstream delivery, and ensure that many artists produce consistent color, lens behavior, realism, and technical specifications.

• Compositor

  A Compositor combines live-action plates, computer-generated imagery, matte paintings, effects, cleanup, color adjustments, and other visual elements into a finished shot. They integrate edges, light, depth, motion, grain, focus, lens behavior, atmosphere, and color so separately created material reads as one intentional photographic image.

• Construction Buyer

  A Construction Buyer sources and purchases lumber, sheet goods, hardware, fasteners, coatings, tools, rentals, specialty fabrication, and other materials required by production construction. They interpret specifications and quantities, compare availability and lead times, place authorized orders, coordinate delivery and returns, track costs and receipts, resolve substitutions with approval, and keep crews supplied without making unapproved design or engineering changes.

• Construction Coordinator

  A Construction Coordinator leads the estimating, scheduling, staffing, purchasing, building, modification, strike, and restoration of production sets and related structures. They translate approved designs and drawings into workable construction plans, organize shops and crews, coordinate materials and stages, control costs and changes, communicate readiness, and align construction with art, scenic, lighting, grip, effects, safety, and shooting schedules.

• Construction Foreman

  A Construction Foreman leads daily set-building work under the Construction Coordinator, translating drawings and schedules into crew assignments, material flow, tool and access planning, quality checks, and progress reporting. They coordinate carpenters and related crafts, solve field conditions, implement approved changes, maintain safe organized work areas, and deliver sets ready for scenic, dressing, lighting, and shooting.

• Construction Medic

  A Construction Medic provides first-aid coverage for production construction, scenic, fabrication, rigging, and shop work, where crews may use machinery, power tools, lifts, chemicals, heavy materials, and work at height. They prepare for craft-specific injuries, inspect emergency access and supplies, respond within scope, coordinate advanced care, document treatment, and communicate prevention concerns without replacing safety supervision.

• Continuity Editor

  A Continuity Editor reviews and shapes edited material for coherent screen direction, action, performance, dialogue, props, wardrobe, time, geography, and story logic. They identify mismatches that distract or confuse, compare alternate takes and coverage, propose edits or pickups, track unresolved issues, and help the editorial team preserve intentional discontinuities while fixing mistakes that undermine audience understanding.

• Costume Coordinator

  A Costume Coordinator runs the department’s office systems for crew, calendars, fittings, vendors, purchase orders, invoices, rentals, shipping, inventory, files, and communication. They keep costume decisions and physical items traceable from prep through returns and wrap.

• Costume Designer

  A Costume Designer creates the clothing language of a film or television production. They analyze story and character, research period and culture, design or select garments, define palettes and silhouettes, collaborate with actors and department heads, supervise fittings and fabrication, and protect costume continuity from prep through photography.

• Costume PA

  A Costume PA supports costume-office and workroom logistics by organizing supplies, preparing labels and paperwork, making authorized pickups and returns, moving racks and bags, assisting laundry and shipping, setting fitting spaces, and updating trackers. They protect garments and confidential performer information, retain receipts, and follow handling instructions rather than making independent design, fitting, purchase, or continuity decisions.

• Costume Supervisor

  A Costume Supervisor runs the costume department’s budget, staffing, schedule, fittings, inventory, purchases, rentals, workroom, trailers, continuity systems, and daily logistics under the Costume Designer. They turn the design plan into an accountable operation that can dress the cast in shooting order.

• Costumer

  A Costumer prepares, fits, dresses, maintains, tracks, repairs, cleans, and organizes costumes for assigned performers or groups. They follow the Costume Designer’s approved looks and the Key Costumer’s daily plan while protecting comfort, privacy, continuity, garment condition, and schedule.

• Craft Service Assistant

  A Craft Service Assistant helps operate snack, beverage, coffee, water, and hydration stations for cast and crew throughout the shooting day. They shop and load supplies, set and replenish stations, prepare simple items, make rounds to remote work areas, clean and sanitize equipment, sort waste, track shortages, and follow the Foreperson’s plan during moves, weather changes, and overtime.

• Craft Service Foreperson

  A Craft Service Foreperson leads the department that keeps accessible snacks, beverages, coffee, water, and light refreshments available between scheduled meals. They plan inventory and stations, account for dietary needs, supervise assistants, maintain sanitation, move service with the company, coordinate with Production and Catering, and anticipate when weather, overtime, remote work, or changing crew locations require additional support.

• Crafty Assistant

  A Crafty Assistant provides hands-on support to the craft service team by shopping, carrying, organizing, preparing, stocking, cleaning, and moving refreshment stations. They watch usage, replace water and ice, keep coffee and snacks available, deliver supplies to distant work areas, maintain food-safe conditions, and respond quickly when the Key Crafty or Foreperson redirects service around production activity.

• Creative Director

  A Creative Director establishes and protects the overarching creative direction for a campaign, branded production, special format, or multidisciplinary project. They translate objectives into a clear concept, align directors and department leads, approve key visual and narrative choices, and keep every deliverable recognizably part of the same idea.

• Creative Executive

  A Creative Executive helps a production company, studio, network, financier, or platform find and develop material that fits its strategy. They track writers and projects, read submissions, prepare recommendations, give story notes, coordinate pitches and rights information, communicate internal decisions, and support projects from early concept through packaging, greenlight preparation, production handoff, or turnaround.

• Dailies Operator

  A Dailies Operator receives camera and sound media, verifies manifests and backups, synchronizes picture and production audio, applies approved viewing color and metadata, renders editorial and review files, and distributes them securely. They identify missing clips, timecode problems, sync drift, corrupt media, or inconsistent camera data early and maintain traceable reports so editorial and production can trust each shooting day’s material.

• Dance Captain

  A Dance Captain maintains choreography after it has been created, helping performers preserve approved steps, spacing, formations, style, timing, and safety through rehearsals and production. They lead reviews and warm-ups, teach changes or replacements, record notes, communicate performer concerns, track continuity for camera, and support the Choreographer without independently changing creative intent unless authorized.

• Dancer

  A Dancer performs choreographed or improvised movement for camera, stage, music, narrative, or live presentation. They learn sequences and formations, embody style and character, maintain spacing and musical timing, repeat movement for coverage, adapt to costumes and sets, collaborate with choreographers and partners, and protect their body through warm-up, conditioning, safe technique, and clear limits.

• Day Player

  A Day Player is a principal performer hired for a limited number of production days, often to play a specific supporting character or deliver a contained scene. They must arrive fully prepared, integrate quickly with an established cast and crew, handle wardrobe and makeup efficiently, learn blocking, deliver consistent coverage, and complete required performance work within a compressed schedule.

• Development Executive

  A Development Executive identifies, evaluates, acquires, and shapes film or television projects for a studio, network, platform, financier, or production company. They read submissions, assess audience and company fit, give creative notes, help package writers, directors, talent, and rights, prepare internal recommendations, and shepherd selected material through pitches, drafts, approvals, and greenlight decisions.

• Dialogue Editor

  A Dialogue Editor turns production recordings into a clear, continuous, emotionally consistent dialogue track. They select the best microphone and take material, synchronize and edit words, repair noise and clothing problems, smooth perspective and room tone, flag lines that need ADR, conform to picture changes, and prepare organized tracks for the dialogue premix and final mix.

• Digital Imaging Technician

  A Digital Imaging Technician, or DIT, manages the on-set image pipeline for digital cinematography. Working with the Cinematographer, they monitor exposure and color, apply and track viewing looks, verify signal and recording settings, support camera matching, and communicate image metadata and color intent to dailies and post-production.

• Digital Loader

  A Digital Loader receives camera media and makes verified copies to approved storage, using checksum-based software and clear media tracking. They protect card identity, folder structure, reports, backups, handoffs, and chain of custody until the captured files reach dailies, editorial, or post-production.

• Digital Utility

  A Digital Utility supports the camera department’s electronic workflow by preparing monitors, wireless video, camera-control links, power, cables, metadata, media stations, and other digital accessories. They troubleshoot signal and configuration problems, keep systems organized through company moves, and help the DIT and camera assistants maintain a reliable image pipeline.

• Director

  A Director shapes a production into a unified dramatic and visual work. They interpret the script, guide performances, collaborate with department heads on the look and sound, decide how scenes are staged and covered, and remain involved through editing and other post-production decisions.

• Director’s Assistant

  A Director’s Assistant provides dedicated organizational and communication support to the Director. They manage calendars, scripts, notes, reference materials, meetings, travel, and follow-ups so the Director can move efficiently through prep, production, and post without losing creative decisions or confidential information.

• DMX Technician

  A DMX Technician installs, addresses, tests, and troubleshoots the data infrastructure that controls production lighting. They manage cable, nodes, wireless links, universes, network paths, fixture modes, and labels so the Lighting Programmer can communicate reliably with every controlled device.

• Dolly Grip

  A Dolly Grip builds and operates camera-dolly systems to create smooth, repeatable movement. They lay and level track, place and secure the camera platform, rehearse timing with the Camera Operator and performers, push or ride the dolly, and help execute cranes, sliders, and other moving camera supports safely.

• Drone Operator

  A film Drone Operator plans and flies an unmanned aircraft camera system for aerial or elevated shots. They coordinate airspace, certification, permissions, weather, location safety, aircraft performance, camera movement, visual observers, and emergency procedures while serving the Director and Cinematographer’s shot plan.

• Dubbing Actor

  A Dubbing Actor performs a translated or adapted voice track that replaces an original-language performance while preserving character, intention, emotional progression, timing, and visible mouth movement as closely as the production requires. They rehearse cues, follow the Dubbing Director, manage vocal consistency, fit words into available screen time, perform efforts and reactions, and complete pickups across episodes or versions.

• Dubbing Director

  A Dubbing Director guides performers and the recording team through a localized replacement dialogue track, protecting character, story, tone, pronunciation, cultural meaning, timing, and continuity with the original picture. They review adaptations, cast or approve voices where assigned, lead recording sessions, choose takes, resolve lines that do not fit, track pickups, and coordinate with localization, editorial, and mixing teams.

• Editor

  A Film Editor selects and arranges picture and sound to build the finished story. Working closely with the Director, the Editor shapes performance, structure, pace, point of view, transitions, and emotional rhythm while coordinating versions, feedback, turnovers, and the path from dailies to locked picture.

• Episode Director

  An Episode Director leads the creative execution of an assigned television episode or block. They interpret the script, direct actors, choose staging and coverage with the Cinematographer, collaborate with department heads, manage the shooting day with the AD team, and prepare the Director’s cut within the series’ established language.

• Executive Assistant

  An Executive Assistant manages the information, schedule, communication, and administrative flow around an executive working in development, production, finance, distribution, or another entertainment function. They coordinate meetings and travel, prepare materials, track decisions and follow-ups, screen requests, maintain confidential files and contacts, process expenses, and help priorities move forward without assuming the executive’s approval authority.

• Executive Producer

  An Executive Producer holds senior responsibility for a project or series, often through financing, creation, packaging, studio or company leadership, rights, talent relationships, or showrunning. Their exact work varies widely, but they typically approve major creative, business, budget, staffing, and delivery decisions rather than manage every daily production detail.

• Extras Casting Assistant

  An Extras Casting Assistant supports background casting by posting approved notices, processing submissions, checking availability and work eligibility, organizing photos and sizes, contacting performers, preparing booking details, updating rosters, collecting required information, and helping respond to replacements or changes. They handle personal data carefully and communicate only confirmed instructions from authorized casting and production staff.

• Extras Casting Director

  An Extras Casting Director sources, books, and coordinates background performers who populate scenes. They translate scene and schedule needs into counts and categories, manage submissions and availability, communicate wardrobe and call requirements, handle replacements, and deliver accurate booking information to production.

• Fight Coordinator

  A Fight Coordinator designs and supervises performed combat for camera, translating character, story, weapons, environment, performer ability, and coverage into repeatable choreography. They teach safe distances, reactions, timing, targets, footwork, communication, and stop procedures; coordinate stunt doubles and departments; and adjust action when casting, costume, set, camera, or physical conditions change.

• Film Financier

  A Film Financier provides or arranges capital for a screen project and evaluates whether its package, budget, schedule, rights, market assumptions, recoupment structure, security, and risk fit an investment mandate. They conduct diligence with legal, business, production, sales, and accounting specialists; negotiate financing conditions; monitor agreed milestones; and make capital decisions without controlling creative work beyond contracted approvals.

• Film Sales Agent

  A Film Sales Agent represents a completed or packaged project to distributors and buyers in defined territories, media, or windows. They assess market positioning, prepare sales materials and forecasts, introduce the project at markets and screenings, negotiate license terms, coordinate delivery and collections, report sales activity, and advise Producers about buyer response without guaranteeing that a film will sell or recoup.

• First Assistant Accountant

  A First Assistant Accountant is the Production Accountant’s senior deputy, supervising daily accounting operations and assigned staff while maintaining accurate accounts payable, purchase orders, petty cash, cards, bank reconciliations, journals, coding, vendor setup, and ledger support. They review work for policy and documentation, resolve discrepancies, and help prepare weekly cost reports, forecasts, audits, and close.

• First Assistant Camera

  A First Assistant Camera, or 1st AC, is the camera team’s technical lead and focus specialist. They build and maintain the camera, change lenses and accessories, judge and pull focus during takes, troubleshoot the camera system, and organize the assistant crew so the camera remains ready and reliable.

• First Assistant Director

  A First Assistant Director turns the shooting plan into a safe, workable production day. They organize set operations, coordinate departments through the schedule, run rehearsals and shooting logistics, communicate timing, and help the Director complete the planned work without taking over the Director’s creative role.

• Fixture Foreman

  A Fixture Foreman leads the crew that prepares, installs, modifies, services, tracks, and removes practical or production lighting fixtures assigned to a set or location. They coordinate approved fixture specifications, wiring and control needs, materials, labor, access, testing, and handoff with art, construction, rigging electric, and shooting crews.

• Focus Puller

  A Focus Puller keeps the intended subject sharp while performers and cameras move. They judge distance, lens behavior, depth of field, marks, timing, and storytelling priority, then operate a follow-focus system during the take—usually as part of the First Assistant Camera’s broader camera-technical responsibilities.

• Foley Editor

  A Foley Editor selects, synchronizes, cleans, compiles, and shapes recorded footsteps, clothing, props, and body movement to match picture. They compare takes, preserve performance detail, repair timing or noise, organize material by character and surface, fill editorial gaps, conform to picture changes, and prepare controllable tracks that blend with production sound, effects, and the final mix.

• Food Stylist

  A Food Stylist prepares, arranges, maintains, and resets food that must look specific and consistent for camera. They translate the creative brief into ingredient, cooking, plating, duplicate, timing, temperature, and continuity plans; coordinate edible and non-edible techniques; protect food and performer safety; work with Props, Art, Camera, and Lighting; and keep each hero plate camera-ready through repeated takes.

• FX Technical Director

  An FX Technical Director designs and executes computer-generated simulations and procedural effects such as fire, smoke, water, destruction, debris, clouds, dust, particles, crowds, vegetation, or magical phenomena. They translate creative reference into controllable systems, solve collisions and scale, optimize caches and renders, and deliver layered elements that lighting and compositing can finish.

• Gaffer

  A Gaffer leads the electrical lighting crew and turns the Cinematographer’s lighting intent into a safe, practical setup. They plan fixtures, power, control, placement, and crew assignments; troubleshoot changing conditions; and coordinate closely with the Key Grip, who handles grip, rigging, shaping, and camera-support work.

• Gang Boss

  A Gang Boss leads an assigned crew within a larger rigging, grip, electric, construction, or set-operation plan. They receive priorities from department leadership, divide work among crew members, coordinate tools and access, monitor progress and safety, and report completed work, conflicts, or resource needs back to the foreperson or department head.

• General Construction Foreperson

  A General Construction Foreperson coordinates multiple construction crews, forepersons, trades, work areas, and build sequences under the Construction Coordinator. They translate the master schedule into daily priorities, balance labor and materials, resolve access and dependency conflicts, monitor quality and safe work practices, and report progress, delays, changes, and readiness across a large shop, stage, or location build.

• Genny Operator

  A Genny Operator operates and monitors production generators and associated power distribution. They position equipment, perform checks, manage fuel and loads, watch temperature and faults, coordinate cable and grounding practices, and respond to changing electrical demand under the lighting department’s plan.

• Gimbal Operator

  A Gimbal Operator controls a motorized stabilized camera rig for handheld, vehicle, crane, remote-head, or transition shots. They balance and tune the system, choose control modes, rehearse movement, coordinate focus and monitoring, and operate framing directly or with a separate remote operator.

• Graphic Designer

  A film Graphic Designer creates visual material seen within the story world: signs, packaging, newspapers, screens, logos, labels, maps, menus, posters, documents, and branded environments. They research period and character, secure approvals or clearances, prepare print or screen-ready files, and maintain continuity across sets and props.

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