How to Work in the Art Department of a Movie

Grouping of people involved in some stage of the making of a film

Film coiffure and equipment on a location shoot

A film crew is a group of people, hired past a production company, for the purpose of producing a film or motility moving picture. The crew is distinguished from the cast, as the bandage are understood to exist the actors who appear in forepart of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the moving-picture show studio or the film's intellectual property rights. A motion-picture show crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are mutual beyond jurisdictions and filmmaking cultures.

Move picture projects have three discrete stages: evolution, product, and distribution. Within the production stage at that place are too three conspicuously divers sequential phases (pre-production, principal photography, and post-production) and many pic coiffure positions are associated with but one or two of the phases. Distinctions are also made betwixt above-the-line personnel (such equally the director, screenwriter, and producers) who begin their involvement during the project's development stage, and the below-the-line technical coiffure involved only with the production stage.

Manager [edit]

Moving-picture show director Dorothy Arzner had a successful career that spanned the silent movie era into talkies. She started as a film editor and designed the first boom microphone.

A director is the person who directs the making of a picture show. The director most ofttimes has the highest potency on a flick set. Mostly, a managing director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of that vision. The director has a key role in choosing the cast members, production pattern, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the writer of the film.

The director gives direction to the bandage and crew, and creates an overall vision through which a film somewhen becomes realized or noticed. Directors need to be able to mediate differences in artistic visions and stay inside the boundaries of the film'south budget. There are many pathways to becoming a film director. Some directors started as screenwriters, cinematographers, motion-picture show editors, or actors. Other directors have attended a movie school. Directors utilise unlike approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every attribute, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.

Production [edit]

Product is generally non considered a department as such, simply rather every bit a series of functional groups. These include the film's producers and executive producers and production role staff such as the production managing director, the production coordinator, and their administration; the various banana directors; the accounting staff and sometimes the locations manager and their administration.

Producer: A picture show producer creates the conditions for filmmaking. The producer initiates, coordinates, supervises, and controls matters such as fund raising, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the pic making process from development to completion of a projection. There may be several producers on a film who may take a part in a number of areas, such as development, financing or product.^[ane]
Executive producer: An executive producer (EP) is a producer who was not involved in the technical aspects of the filmmaking process in the original definition, but has played a financial or creative function in ensuring that the project goes into production. Today, however, the title has become ambiguous, particularly in characteristic films. Since the 1980s, it has become increasingly common for the line producer to be given the title of executive producer, while the initiating producer takes the "produced by" credit. On other projects, the reverse happens, with the line producer taking the "produced by" credit. So the two credits have become finer interchangeable, with no precise definition.

Production office [edit]

Line producer: The line producer is the liaison between the studio or producer and the product manager, responsible for managing the product budget. The title is associated with the idea that they are the person who is "on the line" on a day-to-day ground, and responsible for lining up the resources needed.
Production assistant: Product assistants, referred to as PAs, assist in the production office or in diverse departments with general tasks, such every bit assisting the beginning assistant managing director with set operations.

Production managements [edit]

Production manager: The production managing director supervises the physical aspects of the production (not the artistic aspects) including personnel, technology, budget, and scheduling. It is the product manager's responsibility to make certain the filming stays on schedule and within its budget. The PM likewise helps manage the day-to-day budget by managing operating costs such equally salaries, production costs, and everyday equipment rental costs. The PM ofttimes works under the supervision of a line producer and straight supervises the production coordinator.
Banana production manager: The assistant product director is the assistant to the production director (PM) and carries out diverse jobs for the PM. Normally merely big budget Hollywood feature films accept an assistant PM.
Unit managing director: The unit manager fulfills the same role every bit the production manager merely for secondary "unit" shooting. In some functional structures, the unit director subsumes the function of the transport coordinator.
Production coordinator: The product coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.
First assistant manager: The first assistant managing director (1st Advertizing) assists the production manager and managing director. The ultimate aim of whatsoever 1st AD is to ensure the film comes in on schedule while maintaining a prophylactic working environment in which the director, principal artists (actors) and crew tin be focused on their work. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and prepare. A 1st Advertizing may as well be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.
2d banana managing director: The 2d assistant manager (2nd AD) is the main banana of the 1st AD and helps behave out those tasks delegated to the 1st Advertizement. The 2nd Advertizement may besides direct groundwork activeness and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2d AD is responsible for creating call sheets that let the crew know the schedule and important details about the shooting day.
Other assistant directors: Sometimes other assistant directors are needed such as in Canadian and British functional structures the 3rd banana director (third Advertizing) and even trainee assistant directors (trainee Advertisement). In the American organisation at that place are 2nd 2nd banana managing director (2nd 2d AD). Normally in the American arrangement second 2nd ADs control big crowd extras and make sure if shooting on location none of the public get into shots.

Bookkeeping [edit]

Production auditor: Product accountants manage the coin and ensure the production comes in on budget and anybody gets paid. The manufacture is notorious for unusual bookkeeping methods which are collectively labelled Hollywood bookkeeping. Product accountants are often assisted past assistant accountants, sometimes chosen clerks, responsible for accounts receivable, accounts payable and payroll.

Locations [edit]

Location director: Oversees the locations department and its staff, typically reporting directly to the production managing director or banana managing director (or even managing director or executive producer). Location managing director is responsible for concluding clearing (or guaranteeing permission to use) a location for filming and must oftentimes assist product and finance departments in maintaining budget direction regarding actual location/let fees too every bit labor costs to production for the locations section at large.
Banana location manager: Works with the location manager and the diverse departments in arranging technical scouts for the essential staff (grips, electric, camera, etc.) to see options which the location manager has selected for filming. The assistant location manager will be onset during the filming process to oversee the operation, whereas the location manager continues pre-production from elsewhere (generally an office) on the upcoming locations. (Notation: On most location-based television shows, there will be two assistant location managers that alternating episodes, assuasive one to prep an upcoming episode while the other is on ready with the current 1)
Location lookout man: Does much of the actual research, footwork and photography to document location possibilities. Oft the location manager will practice some scouting themselves, also every bit the assistant location manager.
Location assistant: Hired by the location manager to be on set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the ready dressers into the set up for preparation; maintaining the cleanliness of the location areas during filming; fielding complaints from neighbours; and ultimately, at the stop of the filming, making certain it seems equally though the film crew was never there. There are by and large 1 to iii assistants on a shoot at any given time.
Location production assistant: This position exists generally on larger budget productions. The locations PA is the assistant who is almost never on prepare, but instead is always prepping a location or "wrapping" a location; that is, when a location requires several days of setup and breakup preceding and following the day(s) of filming. A location production assistant is what a prepare production banana is in Canada.

Digital service [edit]

Since the plough of the 21st century, several additional professionals are now routinely listed in the production credits on most major motion pictures.

Social publicist: The publicist liaises betwixt the motion picture product and the media. They create printing releases, in collaboration with the producers, and work with the unit withal photographer.
Legal counsel: Entertainment lawyers negotiate contracts, clear licensing rights for whatsoever intellectual holding used in the film, obtain tax credits from local governments, and take intendance of immigration paperwork when cast or crew cross international borders to shoot on location.
System ambassador: A system administrator or sysadmin, is a person employed to maintain and operate a computer arrangement or network. This function is increasingly important for digital monitors on fix, digital intermediate editing and post production, digital furnishings, digital sound, and sometimes for full digital product.

Continuity [edit]

Script supervisor: Also known as the continuity person, the script supervisor keeps rails of what parts of the script have been filmed and makes notes of whatsoever deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and continue runway of props, blocking, and other details to ensure continuity between shots and scenes. An of import part of a script supervisor's chore is to make sure that the actors' movements, the directions they are looking in a shot, especially when speaking to or responding to some other player, plus the positions of props they are using and every thing else matches from shot to shot. If in that location is an apparent mismatch, the managing director must exist informed immediately so that information technology tin be reshot earlier the lighting setup is changed or at to the lowest degree before the location is wrapped and the set is struck. Not simply does the job of script supervisor require a great deal of awareness and meticulous note-taking skills, it likewise requires much affairs to propose the managing director that they may take a problem editing something just recorded. The script supervisor is also in charge of providing the "official" scene numbers and take numbers to the second camera assistant (clapper loader in some countries) for the slate, every bit well as to the sound mixer, and to clearly note which take the director has called to be used (equally a "print," in film terms) in the finished production. All of this data is so relayed to the editor every mean solar day after shooting has wrapped in the form of copies made of both the script supervisor's notes too equally their matching script pages.

Casting [edit]

Casting manager: The casting director chooses the actors for the characters of the film. This ordinarily involves inviting potential actors to read an excerpt from the script for an audition.
Cast Production Banana: The cast PA assists the actors of the film. This usually involves personal and technical requests, that might exist highly sensible and private or mutual domain or knowledge.

Camera and Lighting [edit]

Director of photography: The director of photography (sometimes shortened to DP or DoP) is in charge of the look of the "frame" of the movie shots, hence the proper name "photography". They are the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of shots in conjunction with the flick's director. Typically, the director tells the DP how they desire a shot to look, and the DP chooses the correct lens, filter, lighting and composition to accomplish the desired aesthetic upshot. The DP is the senior artistic coiffure member afterward the director.; The term cinematographer is usually synonymous with director of photography, though some professionals insist this just applies when the director of photography and camera operator are the same person.

Camera [edit]

Camera operator: The photographic camera operator uses the camera at the direction of the cinematographer, managing director of photography, or the moving-picture show director to capture the scenes on film or video. More often than not, a cinematographer or manager of photography does non operate the photographic camera, but sometimes these jobs may be combined.
First banana camera: The outset assistant camera, 1st Air-conditioning or focus puller, is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the get-go of the day and taking information technology apart at the cease. They besides thread the film when a new magazine is loaded.
2nd assistant photographic camera: The second assistant camera, 2nd Ac or clapper loader, operates the clapperboard unremarkably referred to in the United States as a "slate" at the outset of each take and loads the raw picture show stock or blank videocassette into the camera magazines betwixt takes, if in that location is no additional specifically designated film loader. The 2nd Ac is also in charge of overseeing the meticulously kept notebooks that record when the movie stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and ship of the equipment from one shooting location to some other.
Motion picture loader: The film loader transfers move picture film from the manufacturer'due south calorie-free-tight canisters to the camera magazines for zipper to the camera by the 2nd Air-conditioning. After exposure during filming, the loader so removes the film from the magazines and places it dorsum into the low-cal-tight cans for transport to the laboratory. It is the responsibleness of the loader to manage the inventory of film and communicate with the 1st AC on the movie usage and remaining stock throughout the day. On small-scale production crews, this job is often combined with the second AC. With the prevalence of digital photography, this role is taken on by the digital imaging technician.
Camera product assistant: The camera PA, camera intern or photographic camera trainee, assists the crew while learning the trade of the photographic camera assistant, operator or cinematographer.
Digital imaging technician: On digital photography productions the digital imaging technician, or DIT, is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or manager of photography, the DIT will make adjustments to the multitude of variables bachelor in nigh professional digital cameras to creatively or technically manipulate the resulting image. It may also exist the responsibleness of the DIT to archive and manage the digital data, create compressed dailies from raw footage and prepare all digital images for mail service-production.
Steadicam operator: A steadicam operator is someone who is skilled at operating a steadicam (trademark for a photographic camera stabilization rig). This person is usually one of the camera operators on the production.
Motion command technician / Operator: This technician operates a move control rig, which essentially is a 'camera robot' able to consistently echo camera moves for special furnishings uses. Move control rigs are typically rented with an experienced operator.

Lighting [edit]

Gaffer: The gaffer is the head of the lighting department, responsible for the design of the lighting plan for a production. Sometimes the gaffer is credited as chief lighting technician.
All-time boy (electrical): The all-time male child electric is the chief assistant to the gaffer. They are not unremarkably on fix, just dealing with upkeep of the lighting truck, rentals, manpower, and other logistics. Sometimes the all-time boy electric is credited as assistant chief lighting technician.
Lighting technician / Electrics: Also called electrics or lamp operators, lighting technicians are involved with setting upwards and controlling lighting equipment and temporary power distribution on gear up.

Grip [edit]

Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electric department to put in the non-electrical components of lighting set-ups required for a shot, such as flags, overheads, and bounces. On the sound stage, they move and adjust major set pieces when something needs to exist moved to get a camera into position. In add-on to lifting heavy objects and setting rigging points for lights, they also report to the cardinal grip. In the The states and Canada, grips may vest to the International Alliance of Theatrical Stage Employees.

Primal grip: The key grip is the principal grip on a prepare, and is the head of the set operations department. The fundamental grip works with the director of photography to help set upwardly the set up and to accomplish correct lighting and blocking. They are also used to manoeuver the cameras around the set.
Best boy (grip): The best boy is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the mean solar day.
Dolly grip: The grip in charge of operating the photographic camera dollies and camera cranes is called the dolly grip. They identify, level, and motility the dolly track, then push and pull the dolly, and unremarkably a photographic camera operator and camera assistant as riders.

Sound Product [edit]

Production audio mixer: The production audio mixer (or sound recordist) is the caput of the sound department on location and is responsible for the functioning of the audio mixer and recorder(south) which receive feeds from the microphones on gear up. It is their responsibility to decide how they will deploy their team to capture the audio for each shot, select which microphones volition be used for each setup, mix sound from all of the microphones in real time into a "mix track" that will exist used while viewing rushes and during the edit, and sometimes in the final film, and to maintain logs of audio related bug for post product. The sound mixer is considered a department caput, and is thus completely responsible for all aspects of product sound.
Smash operator: The boom operator, beginning assistant sound or "1st AS", is responsible for using microphones on the end of nail poles (lightweight telescopic poles made of aluminium, or more usually, carbon fibre) held above player'due south heads during a scene to capture dialogue. It is also their responsibility to relay information from the "floor" back to the production sound mixer regarding upcoming shots, troublesome noises that the mixer will need to be made aware of if they can't be silenced, and for mounting radio microphones on actors. In France, the boom operator is chosen the perchman.
Second assistant audio: The 2nd assistant audio, utility sound technician, or "second As", is the banana to the nail operator and is responsible for moving and preparing sound equipment for employ around the set while the blast op watches rehearsals and prepares for the next shot, too as handling wireless audio feeds to the managing director, script supervisor and producers, and laying carpeting and other audio dampening materials in locations with problematic floors or a troublesome acoustic. In add-on, the 2d AS is regularly called upon to operate a second boom in scenes with a larger number of actors or where actors are physically spaced too far apart for the 1st As to cover all of the dialogue with one microphone. The 2nd Every bit too regularly aids in the radio mic'ing of bandage when there are a large number of actors in a scene. The term "sound utility technician" is now considered an outdated term by BECTU in the UK and 2nd As is preferred, with sound utility technician as a role being omitted from contempo versions of the rate card.^[2] The role is sometimes informally known as a "cable wrangler" or "cablevision boy".

Art department [edit]

The art department in a major feature picture show can often number hundreds of people. Usually it is considered to include several sub-departments: the art department proper, with its fine art director, set designers and draftsmen; set decoration, under the gear up decorator; props, under the props master/mistress; construction, headed by the construction coordinator; scenic, headed by the key scenic artist; and special effects.

Production designer: The product designer is responsible for creating the visual appearance of the flick – settings, costumes, grapheme makeup; all taken every bit a unit of measurement. The product designer works closely with the director and the managing director of photography to achieve the await of the pic.

Art (sets and graphic art) [edit]

Inside the overall fine art department is a sub-section, also chosen the art section – which tin can be disruptive. This consists of the people who design the sets and create the graphic fine art.

Art director: The art director reports to the product designer, and more directly oversees artists and craftspeople, such every bit the set designers, graphic artists, and illustrators who give form to the production design as it develops. The fine art director works closely with the construction coordinator and key scenic artist to oversee the artful and textural details of sets as they are realized. Typically, the art director oversees the budget and schedule of the overall art department. On big-budget productions with numerous sets and several fine art directors, one might be credited as supervising art director or senior fine art director.
Standby art manager: In the organizational organization used in Ireland or the United Kingdom, the standby art director monitors the art department'due south piece of work on set during filming on behalf of the product designer. They work closely with the standby painters and standby carpenters, and co-ordinate any changes to the set during filming. In the N American system, this work is shared between the props master and the on-set dresser.
Assistant art director: The start, 2nd and tertiary assistant art directors carry out the instructions of the fine art manager. Their work ofttimes involves measuring locations and collecting other pertinent data for the production designer. Sometimes a set designer is also the offset assistant art director. In this capacity, they manage the workflow and human activity as the foreman of the drawing office.
Illustrator: The illustrator draws or paints visual representations of the designs to communicate the ideas imagined past the production designer. Illustrators are sometimes credited as concept artists.
Graphic creative person: The graphic artist is responsible for the design and cosmos of all graphic elements, including: signs, billboards, posters, logos, nameplates, and automotive-wrapping — that are created specifically for the movie. They volition oft create several versions of a design, the preferred of which then being chosen by the production designer. On certain productions, they may besides exist employed, under the direction of the props main, in the creation of minor, printed items, such as fliers, receipts, bills of auction, etc.

Sets [edit]

Fix designer: The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for past the production designer.
Set decorator: The set decorator is in charge of the decorating of a film set, which includes the furnishings and all the other objects that volition be seen in the film. They work closely with the production designer and coordinate with the art manager. In recognition of the set decorator's importance, the University Honor for art direction is given jointly to both the production designer and the set decorator.
Buyer: The buyer works with, and reports to, the set decorator. The buyer locates, and and so purchases or rents the set dressing.
Leadman: The leadman (or leadperson) is the foreman of the ready dressing crew, ofttimes referred to equally the swing gang. They as well assist the set up decorator.
Set dresser: The prepare dressers utilise and remove the "dressing"; i.e., furniture, drapery, carpets, wall signs, vinyl decals – everything i would detect in a location, (fifty-fifty doorknobs and wall sockets, when such items do not fall under the purview of structure.) Most of the swing gang's piece of work occurs before and later on the shooting crew arrives, merely one prepare dresser remains with the shooting crew and is known every bit the on-set dresser. In some countries, such as Ireland or the United kingdom, the set dressing department is referred to as dressing props department. Informally, in the United states of america, the department is often referred to but as "ready dec".
Greensman: The greensman or greensperson is a specialised set dresser dealing with the artistic system or landscape design of establish material, sometimes existent and sometimes artificial, and usually a combination of both. Depending on the telescopic of the greens work in a moving-picture show, the greensperson may report to the art director or may report directly to the production designer. If a meaning corporeality of greens work is required in a picture, so the greens may be an identifiable sub-department, with its own team – oft of a size numbering double figures – and hierarchy (due east.yard., greensmaster, greens supervisor, foreperson, leading hand, laborers). Specialists from other areas of the art dept. (due east.g., fabricators, sculptors, painters, scenics) may besides be drafted to piece of work exclusively on greens.

Construction [edit]

Construction coordinator: The structure coordinator oversees the construction of all the sets. The coordinator orders materials, schedules the work, and supervises the ofttimes sizeable construction coiffure of carpenters, painters and labourers. In some jurisdictions the construction coordinator is called the structure director.
Head carpenter: The head carpenter is the foreman of a gang of carpenters and laborers.
Propmaker: The propmaker (prop fabricator), as the name implies, builds the props that are used for the film. In United states of america jurisdictions, propmakers are carpenters who build props and sets, and are oftentimes technicians skilled in wood and metalwork.

Breathtaking [edit]

Key scenic: The cardinal scenic creative person (scenic accuse) is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, also as simulating the appearance of wood, stone, brick, metallic, stained glass—anything chosen for past the production designer. The fundamental scenic artist supervises the crew of painters, and is frequently a master craftsperson. In the UK, the above responsibilities would commonly be those of the head painter, and the scenic artist is responsible for producing artist painted backings. In the US, a key scenic is called the charge scenic.
Caput of the Plastering Department: The Head of the Plastering Section is responsible for managing fibrous plasterers, who are highly skilled plasters who can copy whatever period, using mold making and casting abilities.

Property [edit]

Propmaster: The property chief or mistress is in charge of finding and managing all the props that appear in the moving-picture show. These include any detail handled by an actor that is not part of the scenery or costumes, and all consumable food items that appear on screen. Job responsibilities include purchasing, renting, and manufacturing annihilation an actor handles or touches. In catamenia works, it is the property master's chore to ensure that all the props provided are accurate to the time period. The propmistress unremarkably has several assistants. The Banana Propmaster generally is the person running the set and in accuse of working directly with the actors, managing director and on fix crew.
Weapons master: The weapons main, or armorer, is a specialized prop technician who deals with firearms. In most jurisdictions this requires special training and licenses.

Costume department [edit]

Costume designer: The costume designer is responsible for all the clothing and costumes worn by all the actors that appear on screen. They are also responsible for designing, planning, and organizing the construction of the garments downwardly to the textile, colors, and sizes. The costume designer works closely with the director to sympathize and interpret "character", and counsels with the production designer to achieve an overall tone of the film. In large productions, the costume designer volition usually have one or more assistant costume designers.
Costume supervisor: The costume supervisor works closely with the designer. In addition to helping with the design of the costumes, they manage the wardrobe workspace. They supervise construction or sourcing of garments, hiring and firing of support staff, budget, paperwork, and section logistics. It is too called the wardrobe supervisor, although this term is used less and less.
Key costumer: The key costumer is employed on larger productions to manage the set costumers, and to handle the star's wardrobe needs.
Costume standby: The costume standby is present on set at all times. Information technology is his or her responsibility to monitor the quality and continuity of the actors and actresses costumes before and during takes. she or he will also assist the actors and actresses with dressing.
Breakdown artist: A breakdown artist may be employed during the pre-product period to intermission down garments. This specialized task includes making new clothing appear dingy, faded, and worn.
Costume heir-apparent: On large productions a buyer may be employed to source and purchase fabrics and garments. A buyer might also be referred to as a shopper. This distinction is oft fabricated when the lead actor in a production has command over their wardrobe, and they may personally rent this person.
Cutter: A costume technician who fits or tailors costumes, usually on set. They might also exist called fitter, seamstress, or tailor. Some glory actors have favorite cutters, and larger productions may hire several and take them on set at the same time, particularly in period film projects that might have complicated or expensive extras wardrobe.

Hair and make-upwardly [edit]

Some actors or actresses have personal makeup artists or hair stylists.

Key make-up artist: The primal makeup artist is the department head that answers straight to the managing director and product designer. They are responsible for planning makeup designs for all leading and supporting cast. Their department includes all cosmetic makeup, body makeup and if special furnishings are involved, the key brand-up artist will consult with a special effects makeup squad to create all prosthetics and SFX makeup in a production. It is common that the primal makeup artist performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles. The primal makeup creative person volition normally execute especially complicated or important makeup processes that are to be featured on camera.
Special brand-upwardly furnishings creative person (SFX makeup): A special effects make-upwards artist works with alive models or structures in the amusement manufacture, applying make-up effects or prosthetics. May be an own department that answers directly to the managing director and production designer or reports to the Primal make-up artist.
Make-upwardly supervisor: The make-upwardly supervisor is a supporting position that normally reports to the primal makeup creative person to assist in running the makeup department. Brand-upwardly supervisors typically handle production matters and generally serve the needs of senior artists. Makeup supervisors rarely do makeup themselves. Their duties can include keeping a record of makeup continuity, handing the scheduling of makeup teams and providing for the full general needs of the makeup department. They are expected to be a connection betwixt the makeup department and the residuum of the production departments, making sure that makeup supplies, product assistants or electricians are on manus when needed.
Brand-upwardly creative person: Make-up artists work with makeup, hair and special effects to create the characters look for anyone appearing on screen. They assist and study to the primal brand-up artist.
Key pilus: The key hair is the section head that answers directly to the manager and product designer. The primal hair volition normally pattern and style the hair of lead actors.
Hair stylist: The pilus stylist is responsible for maintaining and styling the hair, including wigs and extensions, of anyone appearing on screen. They help and written report to the key hair.

Special effects [edit]

The special effects section oversees the mechanical effects (also called physical or practical effects) that create optical illusions during live-action shooting. It is non to exist confused with the visual effects department, which adds photographic effects during filming to be altered after during video editing in the postal service-production procedure.

Special effects supervisor: The special effects supervisor instructs the special furnishings crew on how to design moving set elements and props that will safely break, explode, burn, plummet and implode without destroying the film ready. she or he is likewise responsible for reproducing weather conditions and other on-photographic camera magic.
Special effects assistant: The SFX assistants carry out the instructions of the special effects supervisor, building fix pieces similar breakaway furniture and cities in miniature, lighting pyrotechnics, and setting upward rigging equipment for stunts.

Stunts [edit]

Stunt coordinator: Where the motion picture requires a stunt and involves the utilise of stunt performers, the stunt coordinator will arrange the casting and functioning of the stunt, working closely with the director and the 1st Advertizement.

Post-production [edit]

Film editor: The motion picture editor is the creative caput of the mail production section and is responsible for assembling the motion-picture show into a cohesive edited story, with the assistance of the director. They are primarily responsible for selecting performances of the actors with the manager, adjusting the tempo, pace, and construction of the final edited movie. In some cases, the editor may assist restructure the story of a film differently from the original script to focus a story bespeak, or increase an emotional response from the audience. They are also involved with providing feedback on the audio mix, visual effects, and music with the manager. They tin too collaborate with the colorist and manager of photography to adjust framing for mood or center trace. There are commonly several assistant editors who creatively support the editor likewise as manage footage and data for the unabridged post production team.
Postal service-production supervisor: Post-production supervisors are responsible for the mail-production process, during which they maintain clarity of data and expert channels of communication between the producer, editor, supervising audio editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. Although this is not a creative office, it is pivotal in ensuring that the film'southward postal service-product upkeep is manageable and doable, and that all deadlines are met. Because large amounts of money are involved, and most of a film'due south budget is spent during production, the post-production period can oftentimes be difficult and challenging.

Editorial [edit]

Negative cutter: The negative cutter cuts and splices the negatives as directed past the film editor, and then provides the assembled negative reels to the lab for prints (positives for projection) to be made.
Colorist: With a photochemical process, the colour timer adjusts the color of the film via printer lights for greater consistency in the flick'southward colors. With a digital intermediate procedure, the colorist tin can utilize digital tools in manipulating the image and has greater creative freedom in irresolute the aesthetic of a picture show.
Telecine colorist: A telecine colorist is responsible for a grade, a expect that has been created with a grading system, which adjusts brightness, contrast and color.

Visual effects [edit]

Visual effects unremarkably refers to postal service-production alterations of the picture show'southward images. The on set VFX crew works to set shots and plates for future visual effects. This may include adding tracking markers, taking and asking for reference plates and helping the director sympathise the limitations and ease of certain shots that volition effect the future post production. A VFX crew can besides piece of work alongside the special effects department for any on-set optical furnishings that need physical representation during filming (on camera).

Visual effects producer: The visual effects producer works with the visual effects supervisor to pause down the script into storyboards, and advises the manager as to how she or he should approach the scenes. Together they determine which sequences are to be shot every bit live activity elements, which would work well in miniature, and which (if any) should be computer generated.
Visual effects creative managing director: VFX creative directors are very much similar production designers, except they straight and supervise the artistic side of the film's visual furnishings. The position is particularly in demand for films with massive amounts of computer generated imagery and scenes.
Visual effects supervisor: The visual effects supervisor is in charge of the VFX crew, working with product and the film'southward managing director to achieve the desired in-camera optical effects of the flick.
Visual effects editor: The visual furnishings editor incorporates visual effects into the current cuts of alive activeness sequences, producing multiple versions of each shot. Altered scenes are then evaluated past the visual furnishings supervisor and creative director for artful and technical direction, and by the producers for review and final editing.
Compositor: A compositor is a visual effects creative person responsible for compositing images from different sources such equally video, motion-picture show, computer generated 3D imagery, 2D animations, matte paintings, photographs, and text.
Rotoscope artists / Paint artists: Rotoscope and paint artists may rotoscope the footage, manually creating mattes for apply in compositing. They may also paint visual data into or out of a scene, such as removing wires and rigs, logos, dust busting, scratch removal, etc.^[3]
Matte painter: Matte painters depict and paint entire sets or extend portions of an existing set.

Sound and music [edit]

Sound designer: The sound designer, or supervising audio editor, is in charge of the mail service-product sound of a movie. Sometimes this may involve great artistic license, and other times it may simply hateful working with the director and editor to remainder the sound to their liking.
Dialogue editor: The dialogue editor is responsible for assembling and editing all the dialog in the soundtrack.
Audio editor: The sound editor is responsible for assembling and editing all the sound furnishings in the soundtrack.
Re-recording mixer: The re-recording mixer balances all of the sounds prepared by the dialogue, music and effects editors, and finalizes the films sound rail.
Music supervisor: The music supervisor works with the composer, mixers and editors to create and integrate the moving picture'due south music. In Hollywood, a music supervisor's principal responsibility is to human action as liaison between the film product and the recording industry, negotiating the use rights for all source music used in a picture.
Composer: The composer is responsible for writing the musical score for a film.
Foley artist: The foley artist is the person who creates the postal service-sync audio effects for a film. These sound effects are recorded in sync to flick and are mostly body movements, footsteps or object manipulations. The most common reason for recording these furnishings alive to picture is the fact that such sounds are lost when the dialogue is removed to be replaced by a foreign-linguistic communication version. Unsatisfactorily recorded sync sound effects can as well be replaced with foley effects. Foley artists are as well known every bit foley walkers. Foley is named after its first known practitioner, an early on Hollywood audio editor named Jack Foley.
Conductor / Orchestrator: A conductor is supposed to be knowledgeable of special synchronization procedures to deport the score to an orchestra. An orchestrator is someone who furthers the composer's notes and symbols and fills out the intended notation for the movie score.
Score recorder / mixer: A score's recorder is someone who recordes the pic score and a score's mixer is someone who mixes the film score.
Music preparation: A music preparer is someone who prepares out the score for orchestra performers and who copies out the music.
Music editor: A music editor is someone who edits the moving-picture show score and works with the composer to make certain information technology goes with the picture show.
Additional orchestration: Boosted orchestration people work with the conductor and orchestrator, and edit the movie score.

Previsualization [edit]

Previsualization (as well known every bit previs, previz, pre-rendering, preview, or wireframe windows) is the visualizing of complex scenes in a motion-picture show before filming. It is also a concept in still photography. It is also used to describe techniques such as storyboarding, either in the form of charcoal sketches or in digital technology, in the planning and conceptualization of film scenes.

Animation [edit]

Animation motion-picture show crews take many of the same roles and departments as live-activeness films (including directing, production, editing, camera, sound, etc.), but nearly all on-set departments (lighting, electric, grip, sets, props, costume, hair, makeup, special effects, and stunts) were traditionally replaced with a unmarried animation section made up of various types of animators (grapheme, furnishings, in-betweeners, cleanup, etc.). In traditional animation, the nature of the medium meant that everything was literally flattened into the drawn lines and solid colors that became the characters, making virtually all live-action positions irrelevant. Because animation has traditionally been so labor-intensive and thus expensive, blitheness films usually accept a separate story department in which storyboard artists painstakingly develop scenes to brand sure they brand sense before they are actually animated.

However, since the turn of the 21st century, modernistic 3D calculator graphics and calculator animation take made possible a level of rich particular never seen before. Many animated films now have specialized artists and animators who deed as the virtual equivalent of lighting technicians, grips, costume designers, props masters, fix decorators, set dressers, and cinematographers. They brand artistic decisions strongly similar to those of their live-action counterparts, just implement them in a virtual space that exists only in software rather than on a physical fix. There have been major breakthroughs in the simulation of hair since 2005, pregnant that hairstylists take been called in since then to consult on a few blitheness projects.

See likewise [edit]

Cinematography
Outline of flick
Production team
Glossary of move picture terms

References [edit]

^ "Producers Guild Awards". Socialbilitty. March xvi, 2014. Retrieved January 13, 2017.
^ "Archived copy". Archived from the original on June three, 2016. Retrieved May eight, 2016. {{cite spider web}}: CS1 maint: archived copy equally championship (link)
^ Silverman, Matt (June 15, 2004). "Art of Roto (compositing and paint)". Fxguide. Archived from the original on September 18, 2010. Retrieved September 19, 2010.