Roles

300 entries · Page 3 of 5

• Greensperson

  A Greensperson sources, prepares, installs, maintains, moves, waters, protects, and removes living or artificial plants, trees, turf, soil, rocks, and landscape dressing used on sets and locations. They match the Production Designer and Set Decorator’s visual plan while accounting for season, continuity, plant health, irrigation, weather, insects, load, access, and restoration.

• Grip

  A Grip builds and operates the physical systems that shape light and support camera movement. Under the Key Grip, grips place flags and diffusion, build stands and mounts, lay dolly track, rig equipment, protect locations, and solve mechanical problems so lighting and camera setups can be executed safely.

• Groom Artist

  A Groom Artist creates and maintains computer-generated hair, fur, feathers, fibers, grass, or similar strand-based detail for characters, creatures, costumes, and environments. They define shape, density, direction, clumping, breakup, materials, and simulation controls while matching design and reference and keeping the groom performant for animation, effects, lighting, and rendering.

• Hair Department Head

  A Hair Department Head designs or leads the hair plan for a production and manages stylists, wigs, pieces, cuts, color, continuity, products, hygiene, schedules, budgets, and cast coverage. They align character hair with period, story, costume, makeup, camera, stunts, and performer requirements.

• Hair Stylist

  A film Hair Stylist creates and maintains approved hairstyles for performers, including cutting, setting, dressing, texture work, period styling, facial hair support, wigs or pieces within their scope, and continuity. They protect hair health, sanitation, performer comfort, and camera readiness through every take.

• Head Carpenter

  A Head Carpenter leads carpentry across a production construction shop or major build, translating drawings and schedules into crew, material, tool, installation, modification, and strike plans. They coordinate forepersons and carpenters, set workmanship and safety expectations, solve structural and camera-access problems, monitor progress and shortages, and deliver scenery ready for scenic treatment, dressing, rigging, and photography.

• Head Plasterer

  A Head Plasterer leads plaster, casting, mold, texture, and related sculptural work for production scenery. They interpret designs, estimate labor and materials, choose appropriate compounds and reinforcement, plan molds and pours, assign specialists, coordinate cure and installation timing, inspect finish and durability, and manage safe handling, ventilation, cleanup, and strike for heavy or chemically active materials.

• Head Tailor

  A Head Tailor leads the workroom responsible for structured garment construction, alterations, fittings, repairs, and finishing. They interpret approved designs, assess patterns and garments, plan labor and materials, assign work, conduct or support fittings, set quality standards, solve movement and duplication problems, and deliver camera-ready pieces on schedule while maintaining clear records of changes and performer measurements.

• Head Writer

  A Head Writer leads the writing process for a series, comedy, variety, animation, game, audio production, or other format. They set story and tone priorities, organize the room or writing team, assign and review material, rewrite for consistency, coordinate deadlines and production needs, and deliver scripts that reflect the project’s approved creative direction.

• Health and Safety Manager

  A Health and Safety Manager designs and oversees the production’s broader safety program, aligning risk assessment, staffing, training, reporting, emergency planning, inspections, vendors, and corrective actions across units and departments. They advise Producers and managers, assign Safety Officers, coordinate qualified specialists, review trends, maintain escalation channels, and ensure changing production plans receive proportionate safety attention and documentation.

• Health and Safety Officer

  A Health and Safety Officer helps a production identify, communicate, document, and control workplace hazards across offices, shops, stages, and locations. They review plans, conduct inspections, coordinate training and protective measures, track incidents and corrective actions, support emergency readiness, and escalate unsafe conditions while working with department heads, qualified specialists, employers, and applicable regulatory requirements.

• Historical Consultant

  A Historical Consultant researches and advises on the people, institutions, language, customs, material culture, chronology, places, conflicts, and contested interpretations represented by a production. They evaluate scripts and designs, provide sources and context, flag anachronisms or unsupported claims, suggest plausible alternatives, and communicate uncertainty clearly while leaving creative and legal decisions to the authorized production team.

• Illustrator

  A film Illustrator visualizes characters, environments, vehicles, creatures, props, action, and key frames before they are built or photographed. Their images help the Director, Production Designer, departments, studios, and vendors evaluate ideas, communicate scale and mood, and make expensive design decisions earlier.

• Industrial Scenic Artist

  An Industrial Scenic Artist applies durable coatings, primers, protective systems, large-scale textures, specialty finishes, and material simulations to production scenery using methods suited to demanding surfaces and environments. They prepare substrates, mix and apply products to specification, operate sprayers and access equipment, control ventilation and overspray, match approved samples, and document materials so finishes can be repaired or reproduced safely.

• Intimacy Coordinator

  An Intimacy Coordinator supports clear consent, communication, choreography, and agreed boundaries for scenes involving nudity, simulated sex, or other hyper-exposed performance. They break down scene requirements with production, meet privately with performers, coordinate riders, modesty garments and closed-set protocols, help choreograph repeatable action, monitor continued consent, and remain available for concerns without overriding the performer or Director.

• Key Assistant Location Manager

  A Key Assistant Location Manager is the Location Manager’s senior field deputy. They may run an active site, supervise assistants and PAs, coordinate crew access and neighborhood communication, execute permit and site plans, manage company moves, document condition, and resolve daily location problems within delegated authority.

• Key Carpenter

  A Key Carpenter leads carpenters assigned to build, install, modify, repair, brace, strike, and restore production scenery. They interpret drawings and dimensions, plan assemblies and material cuts, assign work, coordinate wild walls and camera access, check fit and finish readiness, respond to set changes, and keep tools, hardware, crew movement, and completed structures organized.

• Key Costumer

  A Key Costumer leads the costumers who dress and maintain principal cast and set wardrobe. They organize daily looks and changes, assign performers, coordinate fittings and continuity, prepare trailers and racks, solve garment problems, and communicate the Costume Designer and Supervisor’s priorities to the working crew.

• Key Crafty

  A Key Crafty is a lead craft service worker who helps the department head coordinate daily purchasing, prep, station coverage, mobile rounds, restocking, sanitation, and assistant assignments. They may take responsibility for a unit or location, solve supply and access problems, monitor dietary needs and weather, and keep continuous refreshments operating when the Foreperson is handling broader logistics.

• Key Grip

  A Key Grip leads the grip department, which shapes and controls light, builds safe support and rigging, and provides camera-movement infrastructure. Working with the Cinematographer and Gaffer, the Key Grip plans crew, equipment, flags, frames, mounts, dollies, track, cranes, and specialized rigs for each setup.

• Key Hair Stylist

  A Key Hair Stylist is the Hair Department Head’s senior deputy, coordinating stylists, cast assignments, call times, stations, wigs, products, continuity, and set coverage. They may personally handle principal performers while keeping the team aligned with approved designs.

• Key Health and Safety

  The Key Health and Safety professional leads day-to-day field safety coordination for a unit or production, assigning coverage, conducting briefings and inspections, tracking hazards and corrective actions, and keeping the Health and Safety Manager informed. They help department heads apply approved controls, verify documentation and emergency readiness, respond to changing conditions, and escalate work that falls outside the agreed safety plan.

• Key Makeup Artist

  A Key Makeup Artist is the Makeup Department Head’s senior deputy, coordinating artists, cast assignments, call times, stations, products, continuity, touch-ups, and daily execution. They may personally handle principal performers while keeping the rest of the makeup team aligned with approved designs.

• Key Rigging Grip

  A Key Rigging Grip leads the advance grip crew that installs overheads, mounts, pipe, platforms, access, support, and other rigging before the shooting company arrives. They plan loads, hardware, labor, lifts, weather, inspections, and strike so the Key Grip receives safe, documented infrastructure ready for camera and lighting work.

• Key Scenic Artist

  A Key Scenic Artist leads an assigned scenic crew or major finish under the Charge Scenic, translating approved samples and recipes into surface preparation, paint, texture, aging, plaster, murals, signage, repairs, and touch-ups. They organize labor and materials, demonstrate techniques, check color and continuity, coordinate access and drying, and report progress without independently changing the approved visual design.

• Key Trailer Costumer

  A Key Trailer Costumer leads wardrobe operations from the principal costume trailer or dressing base, organizing performer changes, racks, bags, continuity, laundry, repairs, staffing, and the flow between truck, trailer, set, and holding. They anticipate the shooting order, prepare complete looks, supervise dressing and returns, communicate schedule changes, and protect principal garments, privacy, and department records.

• Lamp Operator

  A Lamp Operator is a set-lighting technician who places, powers, focuses, controls, moves, and wraps lighting fixtures under the Gaffer and Best Boy Electric. They run cable, set stands, add diffusion or accessories assigned to electric, troubleshoot fixtures, and execute lighting changes safely around the active set.

• Lead Editor

  A Lead Editor takes primary editorial responsibility on a project with multiple editors, establishing creative and technical conventions, dividing sequences, reviewing assembled work, protecting continuity and tone, coordinating with the Director and Producers, and guiding turnovers. They may edit major material personally while aligning the wider editorial team around current cuts, notes, schedules, media organization, and delivery priorities.

• Lead Writer

  A Lead Writer takes primary responsibility for the written voice and story execution of a project or writing team, developing premise, character, structure, tone, outlines, scripts, and revisions while coordinating contributions from other writers. They interpret the creative brief, assign or integrate material, resolve inconsistencies, respond to notes, and keep the current script direction clear without assuming producing authority not included in the engagement.

• Leadperson

  A Leadperson supervises the crew that installs, moves, maintains, wraps, and returns set dressing under the Set Decorator’s plan. They translate dressing lists and floor plans into labor, truck, equipment, and sequence needs; assign dressers; coordinate access with construction and shooting; protect continuity and property; and report readiness, damage, shortages, and changes to department leadership.

• Lighting Programmer

  A Lighting Programmer builds and operates the control system that turns the Gaffer’s lighting cues into repeatable intensity, color, effect, and timing changes. They patch fixtures, address DMX or network devices, program cues and groups, troubleshoot control, and document the show so complex lighting can be reproduced reliably.

• Line Producer

  A Line Producer leads the budget and logistics of physical production. They translate the creative plan into a costed schedule, hire production leadership and department heads, negotiate resources, monitor spending and progress, and make practical decisions that keep prep, shooting, wrap, and delivery within approved limits.

• Location Coordinator

  A Location Coordinator runs the department’s office systems for scouts, owners, permits, agreements, vendors, maps, contacts, notices, payments, calendars, condition records, and distribution. They keep field teams and production leadership working from current, traceable information.

• Location Manager

  A Location Manager finds, secures, prepares, runs, and restores the real-world places where production films. They translate creative needs into viable options, negotiate with owners, coordinate permits and community impact, plan access and services, manage the location crew, and protect both the production and property through wrap.

• Location PA

  A Location PA supports the location team on the ground by placing signs and protection, holding working boundaries, guiding crew and pedestrians, monitoring doors or noise-sensitive areas, distributing notices, helping with parking and cleanup, and reporting problems quickly to location leadership.

• Location Scout

  A Location Scout searches for and documents real places that can satisfy a production’s creative and practical requirements. They research leads, visit properties, take organized photographs and measurements, note access and restrictions, contact representatives, and present viable options to the Location Manager and creative team.

• Look Development Artist

  A Look Development Artist defines how a computer-generated asset responds to light by building and tuning shaders, materials, texture relationships, displacement, subsurface behavior, reflections, and render settings. They translate design and real-world reference into a repeatable surface setup that remains convincing across lighting conditions, cameras, and shots.

• Makeup Artist

  A film Makeup Artist applies and maintains approved beauty, corrective, period, character, injury, aging, body, and continuity makeup for performers. They prepare skin, use sanitary tools and products, document each look, make discreet on-set touch-ups, and remove products safely at wrap.

• Makeup Department Head

  A Makeup Department Head designs or leads the makeup plan for a production and manages the artists, products, continuity, tests, fittings, prosthetic interfaces, hygiene, schedules, budgets, and daily cast coverage needed to execute it. They align character looks with the Director, camera, costume, hair, and production requirements.

• Makeup FX Artist

  A Makeup FX Artist creates and applies physical character transformations such as wounds, scars, aging, creatures, appliances, teeth, hair pieces, blood, dirt, and other practical makeup effects. They sculpt, mold, cast, paint, fit, adhere, blend, maintain, remove, and reproduce approved effects while protecting performer skin, movement, vision, breathing, comfort, privacy, and continuity.

• Marine Coordinator

  A Marine Coordinator plans and supervises production work on or around oceans, lakes, rivers, pools, tanks, docks, beaches, and vessels. They assess water, weather, tides, currents, access, craft, crew, permits, communications, rescue, environmental protection, and emergency plans; coordinate qualified operators and safety resources; and align camera, stunts, performers, transport, and shore teams before authorizing marine activity.

• Matchmove Artist

  A Matchmove Artist reconstructs the movement and optical behavior of a photographed camera—and often moving objects—inside a three-dimensional scene. They solve camera position, orientation, focal length, distortion, scale, and timing so CG elements, set extensions, simulations, and projections remain locked convincingly to the live-action plate.

• Matte Painter

  A Matte Painter creates convincing environments, vistas, skies, architecture, set extensions, and atmosphere that expand or replace photographed locations. They combine painting, photography, projection, and sometimes 3D layout while matching perspective, lens, light, scale, depth, weather, and story so the environment integrates seamlessly with the plate and camera move.

• Mechanical Effects Engineer

  A Mechanical Effects Engineer designs, calculates, prototypes, tests, documents, and supports mechanisms used to create controlled physical motion or transformation for camera. They may develop actuators, linkages, pneumatics, hydraulics, controls, breakaway interfaces, or moving scenery while accounting for loads, failure modes, guarding, emergency stops, maintenance, performer interaction, and the production’s approved effect methodology.

• Media Archivist

  A Media Archivist identifies, inventories, preserves, describes, stores, retrieves, and manages the lifecycle of film, tape, audio, digital media, documents, and related production assets. They maintain provenance and rights information, assess physical and digital condition, plan migration and backup, control access, fulfill research or restoration requests, and document every movement so valuable originals and masters remain findable and trustworthy.

• Media Digitizer

  A Media Digitizer converts analog, tape-based, optical, or otherwise inaccessible picture and sound into managed digital files. They identify source formats, configure playback and capture paths, calibrate levels, record complete material, label and checksum files, document defects and provenance, and quality-check sync, framing, cadence, channels, and completeness so editorial or archive teams receive usable, traceable media.

• Military Advisor

  A Military Advisor helps a production portray military organization, behavior, terminology, uniforms, equipment, protocol, tactics, history, and culture with appropriate accuracy and context. They review scripts and designs, explain realistic options, train performers, advise blocking or action, identify safety and legal concerns, and distinguish factual guidance from the Director’s final creative choices and the authority of qualified weapons or stunt personnel.

• Modeling Artist

  A Modeling Artist builds three-dimensional characters, creatures, props, vehicles, environments, or set extensions from concept art, photography, scans, measurements, and design direction. They create accurate form, scale, topology, detail, and construction logic so assets can be textured, rigged, animated, simulated, lit, rendered, and revised efficiently.

• Music Editor

  A Music Editor manages the precise relationship between music and picture throughout post-production. They prepare temp scores, spotting information, cue timings, click and tempo maps, composer turnovers, recording-session playback, score conforms, song and source edits, review versions, stems, cue sheets, and final music deliverables while tracking every picture change that affects synchronization.

• Music Supervisor

  A Music Supervisor develops and manages the project’s use of songs and existing music, and may coordinate the overall music strategy with score. They research and pitch tracks, confirm creative fit, identify ownership, negotiate and document synchronization and master-use licenses, track budget and territory, coordinate edits and clearances, and ensure approved music and metadata reach production, post, marketing, and delivery.

• Negative Cutter

  A Negative Cutter physically conforms original motion-picture negative to the approved edit by locating exact frames from edge numbers and cut lists, checking matches, making precise cuts and cement or tape splices, organizing trims, and preparing conformed reels for printing or scanning. The work protects irreplaceable camera original and demands rigorous cleanliness, documentation, verification, and coordination with the laboratory.

• Offline Editor

  An Offline Editor builds the creative picture edit using organized source media or editorial proxies, choosing performances and shots, shaping structure and pace, assembling scenes, testing sound and music, presenting versions, and revising from notes. They protect sequence organization and metadata so the approved cut can later be conformed accurately to camera originals and final post-production elements.

• On-Set Costumer

  An On-Set Costumer maintains assigned performers’ wardrobe during photography, ensuring the correct garments, layers, accessories, condition, and continuity appear in every setup. They prepare changes, dress and check performers, monitor damage and comfort, reset details between takes, protect costumes from weather and effects, coordinate microphones and action needs, and record any approved change for future scenes or units.

• Online Editor

  An Online Editor conforms the approved creative edit to the highest-quality source media and prepares the finished picture for color, graphics, review, mastering, and delivery. They relink shots, rebuild approved effects and reframes, resolve speed and timecode issues, check titles and transitions, manage versions, incorporate final elements, and verify that picture, audio reference, and metadata remain synchronized and complete.

• Orchestrator

  An Orchestrator translates a Composer’s themes, sketches, MIDI mockups, piano parts, or detailed cues into complete notation for the selected ensemble. They assign material across instruments, shape voicing, register, articulation, dynamics, balance, doublings, and playable technique, preserve the Composer’s intent, adapt to budget and session limits, and prepare clear scores for copying, conducting, recording, and revision.

• Paint Supervisor

  A Paint Supervisor plans and oversees paint-department labor, materials, equipment, preparation, application, protection, drying, quality, touch-ups, and cleanup for production scenery and facilities. They interpret approved color and finish direction, estimate quantities and time, assign forepersons or painters, coordinate construction readiness and access, monitor safety and environmental controls, and report completion or changes to construction and art leadership.

• Payroll Accountant

  A Payroll Accountant manages the financial and documentary workflow required to pay production employees accurately under approved timecards, rates, contracts, allowances, fringes, taxes, and deductions. They review start paperwork and time, resolve discrepancies with departments and payroll providers, reconcile payroll reports to the ledger and budget, protect sensitive data, and maintain records for audits, unions, residual systems, and wrap.

• Personal Assistant

  A Personal Assistant supports one individual’s authorized professional and practical needs during production by managing schedules, communications, approved errands, travel details, personal items, visitors, and follow-ups. They coordinate discreetly with production while respecting privacy, employment boundaries, security, expenses, and the difference between serving their employer and directing crew or accessing information beyond their role.

• Personal Makeup Artist

  A Personal Makeup Artist is engaged to provide consistent makeup services for a specific performer while coordinating with the production’s Makeup Department Head and approved character design. They prepare and maintain the performer’s looks, manage a trusted kit and schedule, protect privacy and skin health, document continuity, communicate product or timing needs, and avoid making unauthorized changes that affect the wider production.

• Photo Double

  A Photo Double appears on camera in place of a principal performer for angles, inserts, distant views, over-the-shoulder shots, or specific body details where the principal is unavailable or unnecessary. They match relevant appearance and movement, wear duplicated wardrobe and styling, reproduce blocking, protect continuity, and follow precise framing and performance direction so the substitution remains convincing.

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