Roles

300 entries · Page 5 of 5

• Sound Designer

  A Sound Designer develops the sonic language of a film, series, game, or experience by deciding how environments, objects, creatures, technology, transitions, and subjective moments should sound. They record, synthesize, layer, process, edit, and prototype original material, collaborate with the Director and sound team, and build motifs that support story, scale, emotion, and point of view.

• Sound Editor

  A Sound Editor prepares, repairs, organizes, selects, creates, and synchronizes audio elements for picture after production. Depending on the assignment, they may edit dialogue, backgrounds, hard effects, Foley, ADR, or designed sounds; conform work to picture changes; manage tracks and versions; and deliver clean, intentional material for the final re-recording mix.

• Sound Effects Editor

  A Sound Effects Editor builds and edits synchronized effects for actions, objects, vehicles, weapons, technology, environments, transitions, and off-screen events. They search libraries, record or create elements, layer and process sounds, shape perspective and continuity, conform to picture changes, coordinate with Foley and design, and deliver organized tracks that give the final mixer creative control.

• Sound Engineer

  A Sound Engineer designs, configures, operates, and troubleshoots audio systems for recording, playback, reinforcement, broadcast, communications, or production. They manage signal flow, microphones, consoles, interfaces, routing, networks, monitoring, synchronization, power, and technical quality for the assigned format.

• Sound Mixer

  A Sound Mixer combines and controls microphone and playback signals so dialogue, music, effects, ambience, or program audio can be recorded or delivered at useful levels. In narrative production the title may mean Production Sound Mixer; in broadcast, live, documentary, or smaller crews the signal flow and responsibilities differ.

• Sound Recordist

  A Sound Recordist captures dialogue, ambience, effects, interviews, performances, or reference audio on location or in the field. They choose microphones, place or operate them, set recording levels and formats, monitor quality, manage files and metadata, and deliver organized recordings suitable for editorial or archive use.

• Sound Utility

  A Sound Utility supports the production sound team by managing wireless microphones, batteries, timecode, cables, listening devices, carts, equipment, noise control, cast wiring, second-boom work, records, and rapid troubleshooting. They keep the Mixer and Boom Operator ready while anticipating the next setup.

• Special Effects Supervisor

  A Special Effects Supervisor leads the practical-effects department responsible for controlled physical effects photographed on set, such as atmosphere, wind, rain, breakaways, mechanical action, fire-related work, debris, fluids, or other approved gags. They design methods, budget and staff the work, coordinate engineering and permits, test and rehearse systems, lead safety communication, and supervise execution and strike.

• Special Effects Technician

  A Special Effects Technician fabricates, installs, tests, operates, resets, maintains, and removes practical-effects equipment under the Special Effects Supervisor’s approved plan. They may work with mechanical rigs, atmosphere, wind, rain, breakaways, fluids, pneumatics, controls, or other assigned systems while following task-specific procedures, inspection requirements, exclusion zones, and communication protocols.

• Staff Writer

  A Staff Writer is an employed member of a television writing staff who helps break stories, generate ideas, research, develop character and season arcs, write or revise outlines and scripts, and respond to the Showrunner’s direction. The title commonly describes an early-career rung in a writers’ room, although actual duties, episode assignments, and producing responsibilities vary.

• Stage Medic

  A Stage Medic provides first-aid readiness for crews and performers working on soundstages, backlots, shops, offices, and nearby production facilities. They maintain a known aid location and mobile response supplies, treat within credentialed scope, coordinate emergency access through controlled facilities, document care confidentially, monitor recurring stage hazards, and remain informed about effects, builds, rehearsals, heat, smoke, and extended hours.

• Stage Performer

  A Stage Performer presents acting, music, dance, comedy, variety, or other live material to an audience in real time. They rehearse blocking and cues, project clearly, sustain character or stage presence, adapt to venue acoustics and sightlines, coordinate with fellow performers and stage crews, and recover safely from mistakes or changing audience energy without stopping the performance.

• Stand-In

  A Stand-In substitutes for a principal performer while the crew establishes lighting, camera position, focus, movement, eyelines, and technical timing. They match the performer’s height and general physical placement, reproduce blocking accurately, communicate changes, remain close to set, and help departments prepare each setup without requiring the principal cast to stay under working lights between takes.

• Steadicam Operator

  A Steadicam Operator wears and controls a body-mounted stabilization system that allows the camera to move fluidly through spaces where a dolly, crane, or handheld approach may not fit. They compose the shot, balance and tune the rig, rehearse movement with performers, and execute precise paths safely.

• Stop-Motion Animator

  A Stop-Motion Animator creates performance by physically adjusting puppets, objects, replacement pieces, or materials one photographed frame at a time. They plan poses and timing, maintain balance and continuity, work within miniature sets and lighting, use rigs and motion-control tools, and commit each increment carefully because every frame becomes part of the final movement.

• Story Analyst

  A Story Analyst reads scripts, books, treatments, articles, and other submitted material and produces concise coverage for development or acquisition decisions. They summarize the work accurately, evaluate premise, structure, character, dialogue, tone, audience, producibility, and company fit, research relevant context, and make a clear recommendation without rewriting or claiming authorship.

• Story Editor

  A Story Editor is a television writer-producer level that contributes to breaking stories, shaping season and character arcs, writing and revising episodes, evaluating pitches, maintaining continuity, and helping less experienced staff develop material under the Showrunner. The exact seniority and producing duties vary, but the job combines authored writing with broader responsibility for story quality.

• Storyboard Artist

  A Storyboard Artist translates a script, outline, or Director’s ideas into sequential drawings that define staging, composition, action, performance, continuity, camera language, and editorial possibilities before expensive production begins. They pitch sequences, revise structure and comedy or drama beats, clarify geography, and provide panels that editorial assembles into an animatic.

• Stunt Coordinator

  A Stunt Coordinator designs, plans, staffs, rehearses, and supervises action that presents unusual physical risk to performers or crew. They translate the Director’s story needs into controlled methods, select qualified stunt professionals, coordinate with safety-critical departments, lead briefings and rehearsals, assess changing conditions, and stop or revise work when it cannot be performed responsibly.

• Stunt Double

  A Stunt Double performs planned action in place of a specific actor while matching the character’s physical presentation closely enough for editing and camera placement. They study the actor’s movement, costume, hair, scale, handedness, and prior performance, rehearse the approved stunt, coordinate concealment and coverage, and maintain both action safety and visual continuity across takes.

• Stunt Driver

  A Stunt Driver performs planned vehicle action that requires specialized control, timing, precision, or risk management beyond ordinary picture driving. They evaluate the vehicle and route, rehearse marks and communication, coordinate camera and surrounding action, use the approved safety plan, report mechanical or surface changes, and execute repeatable maneuvers only within their demonstrated discipline and conditions.

• Stunt Performer

  A Stunt Performer executes planned physical action that requires specialized skill, preparation, or risk control beyond ordinary performance. They study the story and camera, disclose relevant abilities and limitations, rehearse the approved method, inspect their assigned equipment, follow coordination and safety instructions, communicate changing conditions, and perform the action consistently while protecting cast, crew, and continuity.

• Stunt Rigger

  A Stunt Rigger prepares, installs, tests, operates, monitors, and removes specialized systems used to support or control performers and objects during approved stunt action. They work from the Stunt Coordinator’s plan, account for loads, movement, redundancy, clearances, equipment compatibility, performer fit, communication, and rescue needs, and stop work when conditions differ from the verified setup.

• Supervising Art Director

  A Supervising Art Director coordinates multiple Art Directors, units, stages, or groups of sets under the Production Designer. They align design execution, budgets, schedules, drawings, construction, locations, staffing, and approvals so a large art department delivers one coherent visual world.

• Supervising Location Manager

  A Supervising Location Manager leads a large locations operation across multiple units, regions, or overlapping episodes. They align creative searches, negotiations, permits, budgets, community relationships, staffing, site plans, restoration, and risk while delegating day-to-day ownership to Location Managers and senior assistants.

• Supervising Producer

  A Supervising Producer is a senior producer whose responsibilities commonly span story development, writers’ room leadership, script revision, episode oversight, and coordination with production and post, especially in television. They may supervise writers or assigned episodes, review cuts, solve production questions, and carry delegated Showrunner priorities, but the exact authority and whether the title reflects writing, production, or both depends on the project.

• Tape Operator

  A Tape Operator records, plays back, shuttles, labels, transfers, and quality-checks videotape or tape-based masters in facilities and legacy workflows. They confirm format and timecode, prepare decks and signal paths, cue requested material, protect masters, log transfers and faults, clean or escalate equipment issues, and hand media to editorial, archive, broadcast, or delivery teams with traceable documentation.

• Texture Artist

  A Texture Artist creates the surface maps and painted detail that describe an asset’s color, roughness, metal, wear, dirt, displacement, translucency, and other material variation. They use photography, scans, procedural tools, and hand painting while maintaining consistent scale, resolution, UV layout, color space, and design continuity across close-up and distant use.

• Third Assistant Director

  A Third Assistant Director supports the AD department with floor, background, cast, holding, base-camp, and communication assignments delegated by the First or Second AD. The role helps control movement and information across a busy set while keeping performers, departments, and safety instructions synchronized with the shooting plan.

• Trailer Editor

  A Trailer Editor crafts short-form marketing pieces that communicate a project’s premise, tone, characters, stakes, spectacle, and release message without simply summarizing the full story. They search picture and dialogue, build structure and rhythm, shape music and sound, create or place cards and graphics, manage spoilers and approvals, version for formats and territories, and respond rapidly to audience and campaign notes.

• Transportation Captain

  A Transportation Captain is the Transportation Coordinator’s senior field deputy, organizing drivers, vehicle assignments, call times, staging, routes, fueling, inspections, parking, trailer placement, and company moves. They translate the daily transport plan into live dispatch decisions, monitor readiness and working conditions, solve road or access problems, and report delays, incidents, or resource needs promptly.

• Transportation Coordinator

  A Transportation Coordinator leads the production transportation plan for people, equipment, trailers, base camp, picture vehicles, shuttles, parking, fuel, permits, and daily company moves. They estimate needs, hire and schedule qualified drivers, assign vehicles, coordinate routes and hours, track compliance and maintenance, and keep production leadership informed when timing, access, weather, or vehicle availability changes.

• Transportation Dispatcher

  A production Transportation Dispatcher receives, prioritizes, records, and assigns vehicle and driver requests throughout the day. They track locations, passengers, equipment, routes, estimated arrivals, company moves, parking, fuel, and changes; keep the Captain and Coordinator informed; and maintain a clear communication channel so urgent needs are handled without losing routine assignments or driver accountability.

• Unit Director

  A Unit Director directs an assigned production unit or defined body of material under the project’s principal creative direction. They lead performers and crew for that work, plan coverage, coordinate safety and logistics with the AD team, and deliver footage that matches the story, performances, continuity, and visual language of the main production.

• Unit Manager

  A Unit Manager coordinates the practical services surrounding a production unit, particularly on location. They organize facilities, parking, base camp, transport interfaces, crew services, local vendors, access, and daily logistics so the shooting company can arrive, work, move, and wrap efficiently.

• Unit Production Manager

  A Unit Production Manager, or UPM, oversees the practical preparation and operation of a film or television production unit. Under the employer’s supervision, they coordinate budget, schedule, locations, personnel, travel, transportation, reporting, and day-to-day production decisions so the unit can deliver the planned work.

• Unit Still Photographer

  A Unit Still Photographer creates approved publicity and production photographs during filming. They capture performances, key scenes, behind-the-scenes activity, cast and filmmaker portraits, and continuity or reference needs while staying quiet, avoiding camera frames, respecting closed sets and embargoes, and preserving accurate metadata and secure image delivery.

• Utility Sound Technician

  A Utility Sound Technician is the production sound crew’s versatile third position, supporting the Mixer and Boom Operator with wireless microphones, second boom, timecode, batteries, listening devices, carts, cables, noise control, equipment records, and cast care. They solve small technical and logistical problems before those problems stop production.

• VFX Coordinator

  A VFX Coordinator runs the daily information flow for visual-effects production. They maintain shot records, schedules, review agendas, notes, submissions, vendor contacts, turnovers, delivery logs, meetings, and follow-ups so artists, supervisors, producers, editorial, and post teams are always working from current versions, priorities, and approvals.

• VFX Data Wrangler

  A VFX Data Wrangler captures, labels, verifies, and delivers the technical reference needed to reconstruct photographed scenes for visual effects. They record camera and lens settings, measurements, witness images, HDR panoramas, gray and chrome balls, texture photography, lighting and set reference, slate information, and file relationships without delaying the shooting unit.

• VFX Editor

  A VFX Editor manages the editorial representation of visual-effects shots from turnover through final delivery. They identify and track shot versions, pulls, handles, frame ranges, plates, temp comps, retimes, reframes, and cut changes; prepare review sequences; compare vendor deliveries against the current edit; and keep editorial, VFX, post, and production aligned on exactly what belongs in the picture.

• VFX Lighting Artist

  A VFX Lighting Artist lights computer-generated characters, creatures, objects, and environments to match photographed plates or establish a fully digital scene. They place and shape sources, reproduce exposure and color, manage shadows and reflections, choose render settings and passes, troubleshoot noise and artifacts, and deliver images that compositors can integrate efficiently.

• VFX Paint Artist

  A VFX Paint Artist removes or repairs unwanted visual material such as wires, rigs, markers, crew, reflections, logos, blemishes, tracking points, and set damage. They reconstruct clean backgrounds across moving frames, match grain and texture, preserve natural motion and parallax, and deliver repaired plates that compositors can integrate without visible artifacts.

• VFX Producer

  A VFX Producer manages the budget, schedule, vendor strategy, staffing, bids, approvals, turnovers, reviews, and delivery logistics for visual effects. Working with the VFX Supervisor and production leadership, they translate a changing creative scope into accountable shot plans, negotiate resources, forecast costs, surface risks, and keep hundreds or thousands of interdependent tasks moving toward final delivery.

• VFX Production Assistant

  A VFX Production Assistant supports the administrative and logistical work that keeps a visual-effects team organized. They prepare review rooms and playlists, update records, distribute notes, move files and reference, schedule meetings, check submissions, organize deliveries, and handle assigned office or set tasks while learning shot terminology, version control, and production workflow.

• VFX Supervisor

  A VFX Supervisor leads the creative and technical strategy for visual effects across prep, photography, post-production, and final approval. They decide how effects should be achieved, plan plates and data capture, advise the Director and Cinematographer on set, brief vendors, review shots, solve continuity and realism problems, and protect the intended result within schedule and budget.

• Video Control Operator

  A Video Control Operator manages technical video signals for recording, playback, monitoring, transfer, or live and post-production workflows. They route and verify sources, align levels and color where authorized, monitor sync and signal integrity, label recordings, communicate faults, follow the show’s technical plan, and maintain accurate records so picture reaches downstream systems in the expected format and quality.

• Videographer

  A Videographer plans and records video, often with a compact crew or as a solo operator who may also handle lighting, sound, media, and basic producing. They translate a brief or event into usable coverage, choose practical equipment, capture clear images and audio, protect media, and organize material for editing.

• Virtual Production Supervisor

  A Virtual Production Supervisor leads the integration of real-time engines, LED volumes or other displays, camera tracking, lens data, playback, digital environments, color, lighting, and on-set workflows used to combine physical and virtual production. They design tests and technical plans, align creative departments, validate assets and calibration, supervise stage operation, troubleshoot latency or mismatch, and preserve data and decisions for post-production.

• Visual Development Artist

  A Visual Development Artist explores and defines the project’s visual world before and during production. They create concept paintings, character and environment studies, color and lighting keys, shape-language experiments, prop ideas, and style frames that help Directors and Production Designers choose how the story should look and give downstream departments a coherent design target.

• Voice Actor

  A Voice Actor creates characters, narration, dialogue, efforts, or announcements using vocal performance without relying on an on-camera face. They interpret scripts, establish voice and character choices, take direction, control timing and microphone technique, repeat or match lines, protect vocal health, and deliver clean, editable performances for animation, games, dubbing, commercials, documentaries, and other media.

• Voice Casting Director

  A Voice Casting Director identifies and recommends performers whose voices, acting range, chemistry, language, timing, and availability fit animated, dubbed, game, commercial, narration, or other voice projects. They interpret character briefs, source and audition talent, direct or organize reads, present choices, coordinate representatives and deals, track ensembles and alternates, and support pickups while separating casting decisions from later performance direction unless assigned both roles.

• Voice Director

  A Voice Director guides performers through recorded dialogue for animation, games, dubbing, or other voice-driven productions. They interpret character and story intent, communicate context without completed visuals, shape performance, pace, reactions, efforts, and pronunciation, coordinate script changes, and capture technically usable takes that editorial and animation can build upon.

• Voice-Over Performer

  A Voice-Over Performer records spoken material heard over picture, graphics, animation, radio, or other content without necessarily appearing on screen. They interpret copy, establish tone and audience relationship, pronounce names accurately, control pace and duration, take direction, manage microphone technique, deliver alternate readings, and maintain vocal continuity across pickups, versions, and revised scripts.

• Wardrobe Coordinator

  A Wardrobe Coordinator manages costume information and logistics such as calendars, fittings, contacts, purchasing, rentals, shipments, inventory, returns, paperwork, staffing records, and vendor communication. They keep the Costume Designer, Supervisor, Costumers, workroom, accounting, and production aligned around current status while protecting performer information and distinguishing coordination from design, fitting, and on-set continuity authority.

• Weapons Master

  A Weapons Master controls the selection, custody, preparation, issue, on-set handling, accounting, and secure storage of prop weapons used by a production. They verify the exact object and ammunition or non-firing condition, brief performers and crew, establish controlled procedures, inspect before and after every use, coordinate with safety and authorities, and stop work when an approved weapons plan is not followed.

• Wig Master

  A Wig Master designs, sources, fits, alters, ventilates, colors, styles, applies, maintains, and tracks wigs, hairpieces, facial hair, and related appliances. They translate character and period requirements into secure, natural-looking pieces that match performers and continuity under close camera scrutiny.

• Writer

  A film or television Writer creates and revises dramatic or nonfiction literary material such as stories, treatments, outlines, scripts, scenes, dialogue, narration, and formats. They develop characters and structure, research the subject, respond to notes, collaborate with other writers and producers, track revisions, and deliver clear written work that production departments can interpret and make.

• Writer PA

  A Writer PA supports the practical operation of a writers’ room by preparing the space, managing approved meals and supplies, distributing materials, handling copies and runs, maintaining shared calendars and contact information, and helping documents reach the correct people. They protect confidential story material, track expenses accurately, and support assistants and coordinators without presenting administrative work as credited writing.

• Writer’s Assistant

  A Writer’s Assistant captures a writers’ room’s conversation and decisions in detailed, usable notes. They organize pitches, story beats, character and continuity information, research, assignments, and revisions; maintain room documents and boards; distribute approved notes; and help the staff retrieve the current story logic without losing the distinction between administrative support and credited writing work.

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