Roles

300 entries · Page 4 of 5

• Picture Car Coordinator

  A Picture Car Coordinator sources, prepares, documents, transports, maintains, matches, and coordinates vehicles that appear on camera. They interpret period, character, action, duplication, modification, licensing, insurance, safety, and continuity needs; work with art, props, stunts, effects, camera, and locations; and make sure approved vehicles and qualified operators are ready for rehearsals and takes.

• Picture Catering Crew Member

  A Picture Catering Crew Member supports meal preparation and service for a film or television company working on stages or locations. They load supplies, prepare ingredients, set service, maintain hot and cold holding, replenish stations, identify dietary options, wash and sanitize equipment, manage waste, and help the Caterer adjust quantities and timing as crew size or the shooting plan changes.

• Picture Editor

  A Picture Editor selects and arranges moving images and synchronized sound to create the finished visual narrative. They evaluate performances and coverage, build scenes, control information and point of view, shape pace and transitions, collaborate with the Director and Producers, test music and sound, solve structural problems, manage revisions, and turn over an approved picture to sound, music, visual effects, color, and finishing.

• Playwright

  A Playwright writes dramatic work intended for live performance, creating characters, dialogue, action, structure, rhythm, stage directions, and theatrical possibilities that actors and designers can realize before an audience. They research and draft the play, hear it through readings and workshops, revise with collaborators, respond to production discoveries, and protect the distinction between the authored text and a specific staging.

• Post-Production Assistant

  A Post-Production Assistant provides administrative and logistical support to editorial and post-management teams by organizing files and rooms, making approved runs, scheduling sessions, preparing notes and distributions, tracking deliveries, assisting screenings, coordinating meals and supplies, and keeping shared information current. They handle media only as authorized and protect confidential cuts, credentials, documents, and release information.

• Post-Production Coordinator

  A Post-Production Coordinator runs the calendars, documents, vendors, purchase orders, crew lists, travel, deliveries, cuts, review links, notes, and follow-ups that support the Post Supervisor and editorial team. They keep every session, version, asset, and approval moving to the right person on time.

• Post-Production Supervisor

  A Post-Production Supervisor plans and oversees the people, schedule, budget, vendors, workflows, approvals, and deliverables that carry a project from production through picture editorial, sound, music, visual effects, color, online, mastering, and final delivery.

• Pre-Production PA

  A Pre-Production PA supports the office and department teams before photography by organizing documents, making runs, preparing rooms and supplies, updating contact and distribution lists, helping with research and logistics, tracking deliveries, and responding to changing priorities. They provide reliable administrative and physical support while learning how schedules, locations, casting, design, crew, vendors, and approvals converge before the shoot.

• Producer

  A Producer initiates, develops, assembles, and steers a film or television project from concept through delivery. Depending on the credit, they may secure rights and financing, hire key creative leaders, shape scripts and casting, oversee budget and schedule, solve major production problems, review cuts, and remain accountable to partners and distributors.

• Production Accountant

  A Production Accountant leads the accounting office that records, analyzes, controls, and reports the financial activity of a film or television production. They establish systems and controls, supervise payroll and accounts payable, maintain the general ledger, reconcile cash and cards, prepare cost reports and forecasts, support audits and tax incentives, and advise the Producer, Line Producer, UPM, and studio on current spending.

• Production Caterer

  A Production Caterer plans, prepares, transports, serves, and clears scheduled meals for cast and crew while accounting for headcount, call times, dietary requirements, food safety, location access, weather, and turnaround. They coordinate menus and service windows with Production, maintain safe temperatures and sanitation, replenish meals efficiently, document changes, and adapt when shooting schedules move unexpectedly.

• Production Coordinator

  A Production Coordinator runs the information and logistics hub of the production office. They organize documents, vendors, travel, crew communication, orders, calendars, and approvals so departments receive what they need and production management can keep prep, shooting, and wrap moving.

• Production Designer

  A Production Designer creates and leads the physical visual world of a production. Working from story and the Director’s intent, they define environments, sets, locations, palette, texture, graphics, and visual references, then guide the Art Director and related departments as those ideas become buildable, dressable, photographable spaces.

• Production Manager

  A Production Manager turns the production plan into daily operations. They coordinate budgets, schedules, crew, vendors, locations, transportation, equipment, travel, safety, and approvals so each department can do its work within the project’s time, cost, and logistical limits.

• Production Plasterer

  A Production Plasterer mixes, molds, casts, applies, carves, patches, textures, reinforces, and finishes plaster and related compounds for scenery, architectural detail, molds, breakaways, and sculptural elements. They follow approved dimensions and samples, control mix and cure behavior, handle molds and heavy pieces safely, coordinate installation and scenic finish, and repair work through shooting and strike.

• Production Runner

  A Production Runner completes authorized pickups, deliveries, errands, moves, copies, supply tasks, and practical support that keep a production office, set, unit, or post team operating. They confirm instructions and custody, plan safe routes, communicate delays, protect confidential or valuable materials, retain receipts, and hand items directly to the correct person rather than improvising purchases or access.

• Production Sound Mixer

  A Production Sound Mixer leads the on-set sound department and records the production dialogue and other usable sound for each take. They choose microphones and recording strategy, mix and isolate tracks, manage wireless and timecode, monitor quality, solve noise problems, supervise the Boom Operator and Utility, and deliver organized sound files and reports to post.

• Production Supervisor

  A Production Supervisor monitors and coordinates physical-production operations under the Line Producer or senior production leadership. They track schedules, department needs, vendors, labor, travel, reports, and cost-sensitive logistics, often bridging high-level planning with Production Managers and office teams.

• Production Sustainability Manager

  A Production Sustainability Manager develops and coordinates practical ways to reduce a project’s environmental impact across energy, fuel, transport, materials, construction, food, water, waste, travel, purchasing, and disposal. They establish goals and measurement, train departments, source lower-impact options, track data and vendors, solve implementation barriers, report results accurately, and avoid environmental claims that the production cannot substantiate.

• Production Tailor

  A Production Tailor fits, alters, constructs, repairs, and finishes structured garments such as suits, coats, uniforms, trousers, and period clothing for screen performers. They work from patterns, measurements, fitting notes, and design reference; shape garments for movement and silhouette; preserve matching pieces and continuity; and complete precise hand and machine work within demanding costume schedules.

• Prop Buyer

  A Prop Buyer researches, locates, negotiates, purchases, rents, orders, collects, and returns objects required by the Prop Master’s breakdown. They compare period, design, function, quantity, clearance, lead time, condition, duplication, budget, and delivery needs; maintain approvals and receipts; and solve substitutions quickly when a chosen item is unavailable or unsuitable for camera.

• Prop Designer

  A Prop Designer develops the visual and functional design of story-specific hand props, practical objects, devices, documents, weapons, furniture, or hero pieces that cannot simply be rented or purchased. They research period and character, produce drawings and specifications, select materials and mechanisms, coordinate fabrication and graphics, test scale and action, and obtain approval before multiples or final finishes are made.

• Prop Fabricator

  A Prop Fabricator builds, modifies, duplicates, finishes, repairs, and tests custom objects for performers and camera. Working from drawings, reference, scans, or prototypes, they choose materials and methods that satisfy appearance, scale, weight, durability, function, safety, repeatability, and schedule, then document construction and create versions suited to hero, stunt, breakaway, or background use.

• Prop Maker

  A Prop Maker fabricates custom objects and practical pieces from drawings, references, prototypes, or verbal direction using appropriate materials and processes. They measure, model, cut, machine, sculpt, mold, cast, assemble, wire, finish, repair, and duplicate props; test fit and function; communicate limitations; and deliver durable, safe, camera-ready work that matches approved design and production deadlines.

• Prop Master

  A Prop Master leads the department responsible for objects performers handle or that function as action props. They break down scripts, research and design needs, buy, rent, fabricate, modify, clear, track, maintain, duplicate, preset, and strike props; coordinate continuity and safe use; and communicate closely with the Director, Production Designer, Set Decorator, actors, stunts, effects, costume, and camera.

• Props PA

  A Props PA supports property-department logistics by organizing shelves and kits, labeling and photographing items, preparing paperwork, making approved pickups and returns, cleaning and packing props, tracking receipts, and moving equipment under supervision. They protect hero pieces and chain of custody, follow handling instructions, and never issue, modify, purchase, or operate restricted items without explicit authorization.

• Pyrotechnician

  A production Pyrotechnician prepares and executes permitted pyrotechnic effects under qualified supervision, controlling licensed materials, firing systems, placement, exclusion zones, communication, fire protection, inspection, and disposal. They follow the approved effect plan and authority requirements exactly, verify that performers and departments understand the cue, and do not proceed when conditions or resources differ from authorization.

• Re-Recording Mixer

  A Re-Recording Mixer combines dialogue, ADR, music, Foley, backgrounds, sound effects, and designed elements into the finished soundtrack. They balance clarity and emotion, shape dynamics and perspective, pan sound through the playback format, manage reverberation and processing, solve conflicts, incorporate creative notes, and print approved mixes, stems, and deliverables to specification.

• Rigging Artist

  A Rigging Artist builds the controls, joints, deformation systems, constraints, and technical interfaces that let animators pose and move a computer-generated character, creature, prop, or vehicle. They translate anatomy and mechanics into stable, intuitive rigs, test extreme motion, correct deformation problems, and publish systems that work reliably in the production pipeline.

• Rigging Best Boy Electric

  A Rigging Best Boy Electric is the Rigging Gaffer’s senior operational deputy, organizing the electrical rigging crew, labor, equipment, power distribution, cable paths, fixtures, schedules, and handoffs needed before and after the shooting unit arrives. They turn the rigging plan into coordinated daily assignments and verified installed systems.

• Rigging Gaffer

  A Rigging Gaffer leads the electric crew that installs power distribution, cable, dimming, practical circuits, and lighting infrastructure before the shooting unit arrives. They work from the Gaffer and Cinematographer’s plan, coordinate with rigging grip and construction, and leave safe, labeled systems ready for the set-lighting crew.

• Rigging Grip

  A Rigging Grip installs and removes structural support, overhead frames, points, platforms, tracks, scaffolding, mounts, protection, and other grip systems needed before the shooting crew arrives. They read the rigging plan, move and secure heavy equipment, coordinate loads and access, and leave verified systems ready for lighting and camera work.

• Roto Artist

  A Roto Artist draws and animates precise mattes around people, objects, hair, clothing, and moving details so compositors can isolate foregrounds, place effects, or combine elements. They track shape changes frame by frame, preserve motion blur and edge behavior, organize mattes logically, and deliver clean, stable work that holds up under final integration.

• Scenic Artist

  A Scenic Artist creates painted and surface finishes for sets and scenery, including aging, distressing, wood grain, stone, metal, plaster, murals, signs, textures, and matching. They translate Production Design and Art Direction into camera-ready surfaces that look convincing under the project’s lighting and lens choices.

• Scenic Carpenter

  A Scenic Carpenter builds and installs flats, walls, platforms, stairs, doors, windows, backing, molding, scenery, and other structures designed for camera or live presentation. They read drawings, lay out dimensions, cut and assemble materials, create wild or removable elements, brace and repair work, coordinate with adjacent crafts, and balance speed and adaptability with accurate, safe construction.

• Scenic Foreperson

  A Scenic Foreperson leads daily scenic paint and finish work for an assigned crew, turning approved samples, recipes, and schedules into clear tasks, material preparation, access, protection, application, drying, and cleanup. They demonstrate techniques, inspect color and texture, coordinate with construction and adjacent crafts, track progress and supplies, and report changes or quality problems to the Key or Charge Scenic.

• Scenic Painter

  A Scenic Painter applies paint, glaze, texture, aging, faux finish, murals, lettering, distressing, and environmental detail that make newly built scenery appear visually specific and camera-ready. They prepare surfaces, match approved samples and recipes, work at architectural scale, maintain color continuity, protect adjacent work, coordinate drying and access, and complete touch-ups or repairs as lighting and photography reveal new needs.

• Scoring Mixer

  A Scoring Mixer records and mixes original music for picture, translating the Composer’s and production’s musical intent into clean, flexible, technically consistent recordings. They plan microphones, preamps, routing, monitoring, synchronization, session layout, recording format, isolation, talkback, backups, and deliverables; capture takes efficiently; and mix or prepare stems that integrate with dialogue and effects.

• Screenwriter

  A Screenwriter writes and revises screenplays intended for filmed production. They turn original ideas or source material into visual scenes, dramatic structure, character action, dialogue, and production-readable pages; prepare treatments and outlines; research the world; solve notes; and track revisions while protecting the difference between authored literary material and later production decisions.

• Script Consultant

  A Script Consultant evaluates a screenplay or teleplay and gives the writer or producer structured feedback on premise, character, conflict, structure, pacing, tone, dialogue, clarity, audience, and production implications. They identify what the draft currently communicates, distinguish symptoms from underlying story problems, ask useful questions, and propose revision paths without silently rewriting the author’s work or promising commercial success.

• Script Coordinator

  A Script Coordinator controls the official television script as it moves from writers’ room through production. They format and proof pages, track revisions and colors, maintain scene numbers and locked-page conventions, compile changes, verify continuity and character details, distribute authorized drafts securely, and make sure every department receives the same current material.

• Script Editor

  A Script Editor helps writers and Producers develop screen material while protecting story continuity, production requirements, and the approved creative direction. They read drafts, identify structural and character issues, consolidate notes, discuss solutions with writers, track revisions and open questions, check consistency across episodes or versions, and communicate changes without confusing editorial support with authorship or final approval.

• Script Supervisor

  A Script Supervisor tracks the filmed story in exact detail so shots can cut together. They monitor dialogue, action, screen direction, eyelines, props, wardrobe, hair, makeup, timing, and coverage while producing the lined script and daily notes that guide the Director, departments, and editorial team.

• Seamstress or Tailor

  A production Seamstress or Tailor alters, fits, repairs, constructs, reinforces, and finishes garments so they fit performers, support movement, match the Costume Designer’s intent, and survive repeated use. They interpret fitting notes and patterns, choose appropriate construction methods, preserve duplicates and continuity, work around microphones or action needs, and document changes without exceeding approved design or performer-safety boundaries.

• Second Assistant Accountant

  A Second Assistant Accountant processes and tracks assigned production transactions such as invoices, purchase orders, check requests, petty cash, p-cards, vendor records, coding, filing, payment status, and department inquiries. They verify required approvals and backup, enter data accurately, resolve routine discrepancies, maintain organized audit records, and escalate unusual items to the First Assistant or Production Accountant.

• Second Assistant Camera

  A Second Assistant Camera, or 2nd AC, supports the First AC and keeps camera logistics organized. They mark performers, operate and label the slate, manage camera paperwork, move and stage equipment, help with lens and build changes, and coordinate information between camera, production, script supervision, and post.

• Second Assistant Director

  A Second Assistant Director supports the First AD by turning the shooting schedule into clear calls, cast movement, background coordination, and accurate daily paperwork. The 2nd AD often prepares and distributes the call sheet, communicates advance scheduling, and keeps the production office and set aligned.

• Second Unit Director

  A Second Unit Director leads a separate crew that photographs material outside the main unit’s immediate schedule, such as action, stunts, inserts, establishing shots, vehicles, plates, or crowd work. They match the principal Director’s story, performance, visual language, and continuity while delivering usable footage safely and efficiently.

• Second-Second Assistant Director

  A Second-Second Assistant Director supports the Second AD and First AD with delegated floor, background, cast, base-camp, and communication work. The role helps keep people moving through the day, relays schedule and safety information, and gives a larger AD department enough coverage to manage several locations or workstreams at once.

• Series Creator

  A Series Creator originates the core concept, characters, world, and repeatable dramatic engine of a television series. They usually develop the pitch and foundational written material, help establish the show’s creative identity, and may continue as a Writer, Executive Producer, or Showrunner depending on the deal and production structure.

• Series Director

  A Series Director helps establish and protect the directing language of a television series across episodes. They may direct multiple episodes, guide incoming Episode Directors, align performance and visual choices with the Showrunner, and maintain continuity in tone, blocking, coverage, and production practice.

• Set Costumer

  A Set Costumer stays with the shooting unit to protect costume continuity and condition during rehearsals and takes. They check garments before camera, make fast adjustments and repairs, manage coats and comfort between takes, photograph continuity, support changes, and communicate with cast, ADs, sound, hair, makeup, and the costume trailer.

• Set Decorator

  A Set Decorator designs and oversees the objects that make a filmed environment feel inhabited: furniture, window treatments, practical lamps, art, rugs, books, appliances, and other dressing. Working with the Production Designer, they research, budget, source, fabricate, place, and maintain those elements for shooting.

• Set Designer

  A Set Designer turns approved production-design concepts into precise drawings and digital models that construction, scenic, rigging, lighting, visual effects, and other departments can build and use. They resolve dimensions, materials, elevations, details, movement, camera access, and technical interfaces before fabrication.

• Set Dresser

  A Set Dresser physically installs, arranges, secures, protects, moves, restores, and removes the furnishings and decorative objects selected by the Set Decorator. They pick up and unwrap items, rough in and refine placement, hang art and window treatments, manage practical furnishings, photograph continuity, protect hot sets, and return each set and rental item accurately after shooting.

• Set Medic

  A Set Medic provides qualified first-aid and medical support appropriate to the production, location, crew size, and governing requirements. They establish an accessible aid station, maintain supplies and records, respond to illness or injury, assess and stabilize patients within scope, coordinate emergency services and transport, communicate relevant prevention concerns, and protect medical privacy while remaining ready throughout the workday.

• SFX Makeup Artist

  An SFX Makeup Artist creates and applies physical makeup effects such as prosthetics, wounds, aging, creatures, burns, scars, blood, body effects, and transformation appliances. They design or execute approved effects, mold and fabricate pieces, plan safe application and removal, and reproduce continuity across shooting days.

• Showrunner

  A Showrunner is the senior creative and managerial leader of a scripted television series. Usually working under an Executive Producer credit, they guide story, staffing, casting, production, post-production, budgets, schedules, and communication with the studio or platform so the series maintains one coherent direction.

• Showrunner’s Assistant

  A Showrunner’s Assistant provides dedicated administrative and information support to the Showrunner across writing, production, post, studio communication, and scheduling. They manage calendars, calls, scripts, notes, meetings, contacts, travel, follow-ups, confidential materials, and competing priorities so the Showrunner can move efficiently among creative and managerial responsibilities.

• Site Coordinator

  A Site Coordinator manages an assigned filming property or operational zone, coordinating access, schedules, vendors, protection, facilities, owner requirements, crew movement, and restoration. The title varies, but the role generally keeps one site functioning within the Location Manager’s plan.

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