Below is a list of the departments and roles involved in the post-production process.  Keep in mind that many smaller productions do not utilize all of these roles, and in some 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.

Post-Production Supervisor – Post-Production Supervisors are responsible for the post-production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, color labs or CGI studios) and the production accountant.

Post-Production Coordinator – A person who works with many facets of the post-production process, including ensuring the smooth operation of the editorial department, coordinating the production and delivery of final delivery elements, scheduling and coordinating ADR sessions and managing the administration of the department.

Editorial

Supervising Editor – Works closely with the Director to achieve the Director’s vision. Oversees the editorial staff in the assembly of the picture edit.

Picture Editor – They are the unsung heroes of storytelling. Working in close coordination with the Director and Cinematographer, Editors take on the task of sculpting raw footage into a fluid narrative by making precise cuts and arranging the footage in a coherent manner.  Editors do more than piece clips together. They set the tone, the pacing and the organization of scenes.

Assistant Editor – The work of an Assistant Editor makes the main Editor’s job in post-production significantly easier. This person takes all the rushes and organizes them. This includes logging and capturing footage, labeling and organizing clips (either by shoot date or according to the script), and generally keeping track of rushes coming in. This organization allows the Editor to easily access what they need without wasting time tracking down specific footage.

Colorist – Colorists work with the Director and Cinematographer to ensure the overall color palettes match the vision they choose. From adding stylized grades to basic white balance and color correction, the Colorist ensures each scene maintains the proper visual style and continuity.

VFX

VFX Supervisor – The VFX Supervisor oversees the implementation of visual effects into the film.  VFX Supervisors are often present on set to ensure that captured footage will blend with the planned CGI.

VFX Artist – They are responsible for creating and integrating computer-generated imagery (CGI) into live-action footage. This role is essential in films where it would be impractical or impossible to capture certain scenes using traditional filming techniques.

Roto/Paint Artist – Rotopaint artists meticulously and painstakingly trace and cut shots that will later be filled in with CGI.

Matte painter – Matte painters create additional filming environments from living rooms to fantastical cloud-top castles. This is accomplished through a combination of digital painting, photo manipulation, 3D sculpting and more.

Compositor – A compositor plays the crucial role of combining visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Their work is integral to seamlessly integrating various layers of special effects, CGI and live-action footage, creating a cohesive and believable visual narrative.

Motion Graphics Artist – Creates the moving words, logos, numbers and text on the screen during a film.

Sound

Sounds Designer – The sound designer is responsible for creating, selecting and assembling the sound elements of a film. These elements include dialogue, sound effects (often created through a technique called Foley), and background sounds or ambiance.

Dialogue Editor – As the name implies, the job of the Dialogue Editor is specifically contained to assembling and synchronizing dialog tracks with the footage. If there are issues with dialogue, they can flag it for ADR or work on other solutions.

Sound Editor – Much like the Editor lays out the visual imagery, the Sound Editor does the same for the soundtrack. This includes syncing up audio tracks with the footage and even laying in sound effects. When budget doesn’t allow, they’ll handle the same duties as the Dialogue Editor, Foley Artist and final mixer.

ADR Editor – ADR stands for ‘automated dialogue replacement’ and is also referred to as ‘post-syncing’. It’s essentially recording extra dialogue in the studio after the film has been captured.

Re-recording Mixer – Despite the name, there’s no re-recording involved (so this isn’t about ADR). Instead, the Re-recording Mixer is the one in charge of the final soundtrack master. They ensure everything is where it needs to be, similar to what the Compositor does for visuals. This also includes ensuring the final mix complies with any applicable audio guidelines.

Foley Artist – Under the guidance of the sound mixer, Foley Artists use various props and techniques to create and record ‘everyday’ sounds for a production. This includes things like footsteps, rainfall, fight sounds or the rustling of clothing.

Music Supervisor – Music Supervisors are in charge of all aspects of the music on a project. They’ll work directly with the composer through post-production, handling the budget and just about any and all things related to the music on a job.

Composer – Writes the score, which is the sum of all the original music going into a film. Film composers are also responsible for the recording of the film score.

Musician – The composer’s score is performed by an ensemble of musicians.