One of the most valuable things you can learn as a creative, whether you have spent years on set or have never stepped foot on one, is who actually does what on a film crew. It is the roadmap to how a production really works, and it is often the first step toward finding your own place on one.
Most people, inside and outside of the industry, have familiarity with the primary "above the line" crew positions and the creative forces behind a project. Yet many of the "below the line" crew positions that are integral to an efficiently run production set are overlooked and misunderstood.
While film buffs may stay after a film concludes and watch the credits scroll all the way through, noting all of the different professionals who added value to the final film, most people don't. It's likely that many of you have yet to work on a professional set and may not be aware of all the crew positions available for you to explore and learn about. You may even discover that some of these roles align with your other skillsets and interests, presenting a pathway to work on a set that you've never considered before.
So let's dive in.
Stage 32 Certification has Individual and Master Certification courses on almost all of the roles outlined below! You can learn more and register for these wonderful courses HERE. Once you become Certified through Stage 32, you will be entered into a global database searchable by over 60 global film commissions, streamers, studios, production companies, independent producers, and financiers for work-placement opportunities around the world.
What Does "Above the Line" and "Below the Line" Mean?
These are two terms that get used a lot when discussing production, and specifically crew hiring. Stemming from production budgeting, "above the line" and "below the line" help to differentiate between the two most common types of payroll accounting. Over time, they've been embraced as terms that represent the hierarchy of a set and are used widely across the industry.
"Above the line" positions are paid according to pre-negotiated rates agreed upon contractually when the person is hired or attached to the project. Typically, these roles are all involved early in the creative process, either in development or at the start of pre-production.
Examples of Above the Line: Writer, Director, Producers, Principal Cast, Casting Director, and similar creative leads.
"Below the line" positions are hired as needed and work at hourly or daily rates determined by the project or by guild/union rules.
Examples of Below the Line: Assistant Directors, Director of Photography, Production Designer, Gaffer, Best Boy, Grips, Hair and Makeup, Wardrobe, Props Master, Sound Mixer, Boom Operator, PAs, and many more.
A quick note, since it trips people up: the line is a budgeting distinction, not a measure of importance or talent. Some of the most senior, most skilled people on a production, your DP among them, sit below the line. Every role here matters, which is exactly the point of this guide.
So let's take a closer look at these important roles, broken up by production department, and what each brings to the table.
Story and Development
Writer/Screenwriter- Where every film truly begins. The writer creates the screenplay, the blueprint that every other department on this list will eventually bring to life. Long before a set exists, the story has to work on the page.
If the writing side is where your heart is, this is worth knowing: the Stage 32 Writers' Room is a year-round home built specifically for YOU. Membership opens the door to Open Writing Assignments, real opportunities to submit your material to producers, reps, and filmmakers, along with weekly webcasts with working executives, feedback exchanges with your peers, live pitch practices, and a community that never stops showing up. It's one of the best ways to strengthen the very foundation this whole process stands on.
You can get a free month to check it out for yourself by clicking here!
Development Pros-
Before a script ever becomes a shooting schedule, development professionals are often the first people to believe in a project and the longest to champion it.
Working under titles like Creative Executive, Director, or Manager of Development, Development Coordinator, VP or EVP of Development, and sometimes Creative Producer, they help shape a raw idea or early draft into something ready for financing, talent, and production. They give notes, guide rewrites, help assemble the right team, help perfect the pitch and pitch materials, and make sure the foundational work, chain of title, releases, and more, are handled properly. Much of this happens long before a camera is ever rented, and often before a writer is even attached.
If you want a full breakdown of what development actually involves, I wrote a dedicated guide you can read HERE: Understanding the Development Process.
Directorial
Director- In the world of film production, the Director is looked to as the primary voice and is responsible for the overall vision of the project. They're the head of the production's creative hierarchy, the person responsible for guiding every department, keeping things running smoothly, and keeping the goals and direction clear and aligned from pre-production all the way through the end of post.
Second Unit Director- On larger productions, the Second Unit Director leads a separate crew that captures shots not requiring the principal cast or the main unit: establishing shots, inserts, certain action or stunt sequences, scenic footage, and more. They work to match the look and intent of the main unit so the footage cuts together seamlessly.
1st Assistant Director- The timekeepers. Responsible for overseeing the daily production schedule, managing the set, and keeping everything on track. They facilitate communication between all the departments and help keep things running smoothly.
2nd Assistant Director- Responsible for distributing the next day's vital information, including handing out call sheets, wrangling the cast to be where they need to be on time, and occasionally directing background performers and extras. Some larger productions even require a 2nd 2nd Assistant Director.
Script Supervisor- The continuity overlord. The Script Supervisor makes sure the continuity of every scene and shot is maintained across the board. They track every prop, every bite of food, every touch of a performer's face, every line delivery, so that everything within a shot is carried through and replicated to keep coverage and scene continuation seamless. They keep extensive notes, and this attention to detail is crucial to making a film feel professional and intentional.
Producers
Executive Producers- On the business side of filmmaking, the true Captain of the ship is the EP. They're typically the originators of the project, having acquired the IP for adaptation, the script on spec, or developed the original concept and pitch with the writer. Oftentimes they also put the initial creative team together, seek out or provide funding, and act as the go-between for the creative team and investors, studio execs, and beyond.
Producer/Associate Producer- Work under the EP and alongside the Line Producer to manage all operations on the business side. They oversee the budgets, schedules, and any business needs.
Line Producer- Works under the EP to manage all things BUDGET. They break down the script from a production perspective to build the initial budget, then oversee it throughout the full production process. One of the most important roles on set, they're also involved in crew hiring and scheduling, and they're the boots-on-the-ground problem-solver as needed.
Unit Production Manager (UPM)- Works under the Line Producer to ensure that the primary production paperwork, such as contracts, reports, schedules, budgets, payroll forms, call sheets, and memos, is all completed, signed, and organized.
Production Coordinator- The support for the Line Producer and UPM, organizing all of the paperwork and administrative duties, and supervising all Production Assistants.
Casting & Cast
Casting Director- Manages the overall casting process of a film, from organizing casting calls, auditions, self-tapes, and chemistry reads, to seeking out particular talent through their professional relationships and finding the best-fit talent for every role. Great Casting Directors even push to have specific actors considered for roles that seem like a departure from their previous work, or that may look different on paper than the director and producer's original concept. They're the champions of giving the best talent a chance at the role.
Principal Cast- Sometimes referred to as "major speaking roles" or "primary talent," the principal cast is made up of the actors portraying the scripted roles integral to the story. The hierarchy of the principal cast is determined by many factors and outlined in the cast list on the daily call sheet. The most important actors will always be listed first, and the order descends from there.
Background Actors (Extras)- Typically non-speaking roles, or roles with one or two simple lines, that help fill in the story, location, or background of a scene. They're supervised by the 2nd Assistant Director and costumed to fit seamlessly into the world of the story.
Hair, Makeup, and Wardrobe
Makeup Artists- Design and apply all traditional makeup needed on the cast throughout a shooting day.
Special Effects Makeup Artist- Oversees the design and application of prosthetics, fake blood, or anything that transforms the cast through makeup.
Hair Stylists- Design and style each cast member's hairstyle and maintain those looks throughout the film's production.
Costume Designer- Designs and approves all costumes and wardrobe for a production. They sometimes create the costume designs themselves, or collaborate with tailors, cobblers, and professional shoppers to source specific pieces.
Wardrobe Supervisor- Responsible for organizing all of the wardrobe pieces and keeping them maintained.
Art Department
Production Designer- Head of the art department, responsible for designing all sets and set pieces for the film. They also oversee the set dressing, props, and overall style or aesthetic of the physical, tangible world of the story.
Art Director- Brings the Production Designer's plans to fruition and oversees the department crew on set or location.
Location Manager- Ensures that all locations are prepared and secured for shooting days. They're responsible for identifying nearby parking, bathrooms, and power sources, and they secure permits and close off public areas as needed.
Location Scout- Seeks out locations that fit the story, the director's vision, and the production schedule and budget.
Construction Coordinator- Oversees the actual construction of all set pieces, facades, and anything else the Production Designer needs physically built.
Set Decorators and Dressers- Discover and place the room and setting decorations, such as furniture, art, rugs, bedding, curtains, photos, and personal belongings, that fill a space in a way that aligns with the characters, the director's vision, and the Production Designer's plans. I like to think of them as the wizards who transform a set into a relatable, lived-in space.
Prop Master- Creates, acquires, tracks, and maintains all props used in the film.
Camera and Lighting
Director of Photography / Cinematographer- The head of the camera and lighting department, responsible for creating the overall visual style and look of the film to best fit the Director's vision. One of the most senior creative roles on any set.
Camera Operator- Physically operates the camera during takes, executing the moves and holding the framing that the DP and Director call for. On many smaller or independent productions, the DP operates the camera themselves, but on larger sets this is a dedicated role.
First Assistant Camera / Focus Puller- Responsible for keeping the subject of each shot in sharp focus, pulling or adjusting focus between subjects as a shot demands, and making sure the camera's settings are dialed in correctly for every setup. It is one of the most technically demanding and high-pressure jobs on the entire crew, since a soft-focus take can be unusable no matter how good the performance was.
Second Assistant Camera (Slate)- Responsible for operating the slate that identifies each individual take with updated details, organizing all of the camera gear and lenses, and keeping records and notes of all needs and changes.
Digital Imaging Technician (DIT)- Responsible for the digital workflow on sets using digital cameras and gear. They make sure the camera settings are correct, that the colors and look of the shot align with the DP's intentions and stay consistent for continuity, and they manage all of the digital dailies.
Grip and Electric
Gaffer- Head of the electrical department, reporting directly to the Cinematographer to coordinate the proper lighting of every scene according to the project's vision and the camera department's needs.
Best Boy (Electric)- Works directly under the Gaffer to oversee all electrical cables, generators, and electrical crew. They're directly involved in crew hiring, organizing the necessary gear, and overseeing the day-to-day operations of the department.
Electrical Technicians and Generator Operators- Responsible for running all electrical cables to the lights and to the in-studio or on-location generators, and ensuring everything is set up and run properly so as not to blow fuses or cause electrical problems.
Key Grip- Works under the Gaffer to oversee all non-electrical gear and equipment. They supervise the Grip department in rigging lights, camera gear, stabilizers, and more, and they're responsible for the overall safety and procedures of their department.
Grips and Rigging- The brute force and power on a set. Grips are responsible for rigging, moving, and setting up all equipment. Anything and everything that needs to be moved is moved by a Grip. On location, they also oversee and organize the Grip Truck with all of its gear and supplies.
Sound Department (On Set)
Sound Mixer- Oversees the audio recordings on set and on location. They ensure they're properly capturing and mixing all of the dialogue, necessary background noise, and even room tone and ambiance. If something is missed or improperly recorded, it's their job to speak up and make sure another take is filmed to capture it correctly.
Boom Operator- Responsible for holding, handling, and caring for the boom microphone, and for keeping it perfectly positioned to capture clean dialogue while staying out of frame.
Stunts and Special Effects
Stunt Coordinator- Designs and plans all of the stunts necessary for the film's production, and hires the skilled stunt crew and cast needed to accomplish them as safely as possible.
Fight Choreographer- Designs and carefully choreographs all fight scenes.
Stunt Performers- Trained to carefully perform all stunts in place of the actors in the film.
Special Effects (SFX) Coordinator- Oversees practical, in-camera effects created live on set, such as controlled fire, weather, breakaway elements, and mechanical rigs. Not to be confused with VFX, which is created in post.
VFX Supervisor- Oversees the capture of all visual effects shots on set and ensures the proper equipment and reference are present to do so, then helps guide those shots through post-production.
Post-Production
The work is far from over when the camera stops rolling. An entire second act of the filmmaking process happens in post, where the footage becomes an actual film.
Editor- Assembles the raw footage into the finished film, shaping performance, pacing, tension, and story. The editor is one of the most important storytellers on the entire project, often called the final rewrite of the film.
Assistant Editor- Organizes and manages all of the footage, media, and project files, syncs sound, and keeps the editing room running so the Editor can focus on the cut.
Colorist- Sets the final color and tone of the film, balancing shots for consistency and crafting the mood and visual signature of the finished piece through color grading.
VFX Artists and Editor- Build and integrate the visual effects, from invisible fixes and set extensions to full digital environments and creatures, and cut them into the film.
Sound Designer- Creates and curates the film's sound world, the effects, textures, and atmospheres that make a scene feel real and immersive.
Foley Artist- Performs and records everyday sound effects in sync with the picture, from footsteps to clinking glasses to rustling fabric, adding a layer of tactile realism.
Dialogue Editor- Cleans, edits, and smooths all spoken dialogue, and oversees ADR (re-recorded dialogue) when lines need to be replaced.
Re-recording Mixer- Blends every audio element, dialogue, music, effects, and Foley, into the final balanced mix audiences hear.
Composer- Writes the film's original score, one of the most powerful tools for shaping how an audience feels in any given moment.
Music Supervisor- Sources and licenses the existing songs and music used in the film, and manages the rights and relationships that make that possible.
Transportation
Transportation Captain- Oversees all transportation, drivers, and equipment needed to get crew, cast, and gear to set and locations. They coordinate a plan, schedule, and even a budget to make sure it's all handled properly and no mistakes are made.
Drivers- Responsible for physically transporting cast, crew, and equipment safely to and from set or location.
Production Assistants
Production Assistants are the primary support staff for all departments! There are Casting Assistants, Set PAs, Sound PAs, Art PAs, Location PAs, Office PAs, and more. This is the most entry-level production crew position available on a set, and it's where almost anyone can start in the industry. It's a way to learn an enormous amount in a condensed period about all areas of production, and it's one of the best on-ramps there is.
Additional On-Set Roles
Production Accountant- Responsible for tracking and issuing all expenses, budgets, and payroll.
Intimacy Coordinator- Works with the director to choreograph intimate scenes so they're handled safely and, most importantly, consensually, and so the actors feel comfortable and supported throughout. Now considered an essential part of a professional, respectful set.
Craft Services- Keeps the cast and crew fed and fueled throughout long shooting days with snacks, drinks, and sustenance. Never underestimate how much a well-run craft services table does for morale and stamina on set.
Still Photographer- Responsible for taking behind-the-scenes and unit photos throughout the production process, which are later used for publicity, marketing, and continuity reference.
Set Tutor- Any ongoing set with children under the age of 18 is required to have an on-set tutor so those children can be properly educated while working. This ensures they keep up with homework and exams and aren't left behind while away from school for weeks or months at a time.
Set Medic- A trained paramedic or EMT available on set to provide necessary medical assistance to cast and crew as needed.
Finding Your Place on Set
Here's the beautiful thing about a film crew: it takes every single one of these people, working in sync, to bring one story to life. There is no such thing as a small role on a set. And somewhere in this list, there may be a role that fits your skills, your instincts, and your interests better than you ever expected.
If any of these positions sparked something in you, here's how the Stage 32 community can help you take the next step:
Stage 32 Certification offers Individual and Master Certification courses on nearly all of the roles above, and becoming Certified enters you into a global database searchable by film commissions, studios, production companies, and producers for work-placement opportunities around the world. It's real training with a real pathway to work. Explore the courses HERE.
Stage 32 Education has webinars, classes, and labs taught by working professionals across every department, from cinematographers to editors to line producers, if you want to go deeper on a specific craft or industry. Click here to explore our world-leading 3,500 hours of on-demand education.
A Stage 32 Career Development Call connects you one-on-one with a seasoned professional who can help you map out your next step, whether you're trying to break in, switch departments, or level up in the role you already love. If you want curated advice about the best Executives to connect with on Stage 32, you can email the Success Team at Success@Stage32.com. Tell them about your interests, goals, and projects, so they can help match you with an experienced professional best suited to give you guidance.
And the Stage 32 Lounges are where the community lives every day. Head into any discipline Lounge to ask questions, swap on-set stories, and connect with people who do this work, many of whom have held the very roles above for years.
Wherever you see yourself on this list, know that the whole community is here to help you get there. Now you know who does what. The next step is finding your place among them.
Let's hear your thoughts in the comments below!
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