Below is a list of the many departments and crew positions that exist on a film set.  Keep in mind that many productions do not utilize all of these roles, and in many instances roles will be combined for budgetary or logistical reasons.  Larger productions may hire more niche roles that are not listed here, or employ multiple people in the same position.

Director – The director’s creative vision guides the film. Along with the producers, they are at the top of the crew hierarchy. They are creatively in charge and lead production from start to finish.

Producers

Executive Producer – EPs are at the top of the pyramid from a business standpoint. They are primarily responsible for acquiring (or providing) funding for the film, and sometimes for assembling creative talent.

Producer – Producers report to the EP and take a more active hand in the production itself. Producers typically work with the line producer to establish budgets, communicate creative notes to the director, manage business operations, and ensure the production is running on schedule.

Line Producer – LPs oversee every aspect of the film’s budget. They may also do logistical troubleshooting on set if an issue that arises concerns the movie’s bottom line. LPs report to the executive producer.

Production

Unit Production Manager – The UPM reports to the line producer, and makes sure payroll, call sheets, shooting schedules, and anything else that affects the budget gets done.

Production Coordinator – Keeps track and organizes all of that paperwork, while also managing the film’s production assistants.

1st Assistant Director – The 1st AD maintains both the daily shooting schedule and overall production timeline. They communicate instructions to the crew to make sure every day on set runs smoothly.

2nd Assistant Director – The 2nd AD oversees logistical duties, such as creating and distributing call sheets and making sure that talent is on set when needed. The 2nd AD, or sometimes the 2nd 2nd AD, is occasionally responsible for directing background performers.

2nd 2nd Assistant Director – The 2nd 2nd AD helps to ease the department’s workload when a shoot’s scale or degree of difficulty becomes larger than a small, standard team can handle.  Film set jobs like the 2nd 2nd AD are hired on a situational basis. You may not see a single 2nd 2nd AD in the credits of a low-budget indie, but you would likely find several of them working on a blockbuster with large crowds of background performers and a film crew the size of a small army.

Script Supervisor – Also known as the “Scripty”, the Script Supervisor maintains the story’s continuity throughout production.  They meticulously track and record every detail, from actors’ performances and dialogue to costumes, props, and set design, to prevent inconsistencies that can disrupt the editing process.  The Scripty logs each take and will tell the 2nd AC and Sound Mixer how to label the slate for each take.

Key Production Assistant – The Key PA is essentially the head production assistant and is typically someone with a fair amount of experience.  They work closely with the 1st AD to help direct the other PAs in various tasks.

Production Assistant – PAs are entry-level workers who support any and all last-minute needs on shooting day, from stapling and handing out scripts to cleaning up on set.

Locations

Location Manager – In charge of making sure a shooting location is ready for production to begin. That means settling parking, finding power sources, minimizing outside noises, and closing off areas to the public if and when necessary.

Location Scout – Finds locations that suit the scene’s requirements.

Cast

While not technically included in the film crew hierarchy, the cast is obviously a crucial part of a movie set. Actors portray the characters that bring the film to life—and that comes with its own separate pecking order. The principal cast comprises anyone with a major speaking role. The significance of each principal actor to the film’s plot is usually determined by their place on the call sheet; the closer to the top, the more integral they are to the story.

Background Actors – also known as extras, go through wardrobe and work with the first or second assistant director to fill out a scene. They rarely have spoken lines.

Stand-ins – are not actors in the traditional sense, but they temporarily replace principal cast members on set so that the rest of the crew can properly light and block a scene before shooting.

Camera Department

Director of Photography – Also known as the Cinematographer, the DP is responsible for lighting and shot composition. They develop the visual style of the film in collaboration with the director.

Camera Operator – The operator(s) physically control the camera and executes the angles for the DP.  In many instances on non-union sets, the DP will also act as the A-camera operator.

1st Assistant Camera – The 1st AC’s main priority is to pull focus, ensuring that the subject of each frame remains in focus throughout the take.

2nd Assistant Camera – The 2nd AC loads film or digital media and slates each shot to identify the start of each take. They help keep footage clearly labeled, mark actors during blocking, ensure batteries are charged, and fulfill most logistical duties of the camera department.

Digital Imaging Technician – The DIT assists the Cinematographer with live color correction on set and may also adjust camera settings.  Most smaller productions do not utilize a DIT.

Loader/Digital Loader – The loader is responsible for loading film magazines, ensuring that exposed film is properly re-canned and sent off for processing.  A digital loader is often hired in place of a DIT.  They are responsible for offloading digital media, ensuring that footage is backed up onto multiple hard drives and sends those off to post for editing.  Digital loaders do not color correct footage on set, but may assist with loading pre-built LUTs into the cameras or monitors.

Electric Department

Gaffer – The film’s chief lighting technician. They work with the DP to come up with a plan to properly and creatively light a scene and execute it along with their crew.

Best Boy Electric – The BBE acts as the gaffer’s right hand, overseeing all cables and generators.

Electrician – Electricians are responsible for placing lights and running cables as per the gaffer’s instructions.

Grip Department

Key Grip – Works with the gaffer to properly shape the light.  Oversees all nonelectrical support gear such as stands, sandbags, flags, and rigging equipment, both for G&E and camera equipment.

Best Boy Grip – The key grip’s second in command who manages the grips on set, keeps track of equipment, ensures organization, and assigns individual tasks.

Grip – Grips set up and maintain rigging equipment such as stands, sandbags, flags and diffusion frames.

Swing – Smaller sets may not have a clear delineation between the grip and electric departments.  A swing is someone who fulfills both roles in order to properly light scenes.

Sound Department

Production Sound Mixer – Records audio and sound on set. That requires mixing in real time, as well as asking for a retake if the audio quality isn’t quite right. In addition to dialogue and background noise, the sound mixer also records “room tone,” or a few moments of silence in each new location, for editing purposes.

Boom Operator – The boom operator(s) physically hold and move the boom microphone during each take.  They will often check with the camera department to see how close they can get the microphone to the actors given the size of the frame.

Utility Sound Technician – Larger sets may utilize sound technicians, who assist the mixer is running audio cables and placing microphones on actors.

Art Department

Production Designer – The PD leads the art department and designs the sets both in-studio and on location—as well as determining how those sets will be dressed with furniture and props. They’re responsible for designing the practical visual aesthetics of the film.

Art Director – Manages the art department on set, making the production designer’s vision come to life. On smaller productions, the production designer and art director are one and the same.

Set Decorators – Essentially interior decorators for film. They find the right rugs, furniture, curtains, artwork, and anything else that will physically populate the scene.

Set Dressers – Place the scene’s decorations and furniture onto the set itself. It is the set dressers’ responsibility to make sure the setting feels natural.

Wardrobe, Hair and Makeup

Costume Designer – Coordinates and approves the wardrobe so all the characters achieve a particular look. The costume designer may design the clothes themselves or work with tailors and shoppers to purchase and fit outfits from brands or thrift store.

Wardrobe Supervisor – Manages all clothing on set.  That includes care and maintenance as well as proper labeling, hanging, and storage

Set Costumer – On hand to help with any wardrobe-related issues that arise on set.

Key Makeup Artist – Designs and executes the plan for every actor’s makeup, including any necessary prosthetics and visual effects work.

Makeup Artist – Applies the necessary makeup, both before and during shooting.

SFX Makeup Artist – Deals with prosthetics and anything that’s required to transform the actors beyond the traditional confines of hair and makeup.

Key Hair Stylist – Designs and executes the plan for every actor’s hair.

Hair Stylist – Create and maintain the character’s hairstyle both before and during shooting.

Craft Services

Craft services – Provides food and water to cast and crew throughout the day.

Catering – Specifically provides meals, often with a small array of choices as part of designated meal breaks. Both craft services and catering are independent contractors separate from the hierarchy.