Crew roles A to Z: what every job on set does

By James Jones, founder of Granary Digital · Updated 5 November 2026

A film crew is a set of departments, each led by a head of department who answers to the director or producer. Every job on a call sheet sits in one of them, and once you know the departments the long list of titles stops looking like a code. Below are about sixty roles in alphabetical order, with a line on each and a link to the full explainer where we have one.

How a crew is organised

The ScreenSkills career map for film and TV drama groups roles into development, production management, craft and technical areas. On a shoot day it is easier to think in departments:

• Production. The producers, the production office and the assistant directors. They run money, schedule and the set.
• Camera. The director of photography leads. The operator, focus puller, clapper loader and digital imaging technician sit around them.
• Lighting. The gaffer leads. The best boy and sparks work to them.
• Grip. The key grip leads, with dolly grips. They handle camera support and rigging.
• Sound. The production sound mixer leads, with the boom operator and sound assistant.
• Art, costume, hair and make-up. Each has a designer and a team that make the world look right.
• Post-production. Editors, colourists and visual effects, who work after the shoot.
• Live and studio. Vision mixers, floor managers and autocue operators on television and event work.

Titles change between productions, and on a small shoot one person may do three jobs. Read each entry as the usual meaning rather than a fixed rule.

A to C

• Art department trainee. Entry-level helper in the art department. Does admin, fetches supplies and assists during filming.
• Art director. Works under the production designer to run the art department day to day. See what an art director does.
• Assistant director. Plans the schedule and manages the set so the director can focus on the actors and the shots. There are three levels: the 1st AD runs the set, the 2nd AD organises the cast and call sheets, and the 3rd AD manages background action and the floor.
• Assistant editor. Prepares footage and supports the editor in the cutting room. See what an assistant editor does.
• Autocue operator. Runs the prompter and scrolls the script at the presenter's pace. See what an autocue operator does.
• Best boy. The gaffer's deputy. Organises the lighting crew, kit and paperwork. See what a best boy does.
• Boom operator. Holds the microphone on a pole as close to the actors as the frame allows. See what a boom operator does.
• Camera operator. Operates the camera and frames the shot as the director of photography has planned it. See what a camera operator does.
• Camera supervisor. On multi-camera television, leads the camera team. See what a camera supervisor does.
• Casting director. Reads scripts, works with the director and producers, and finds the actors. See what a casting director does.
• Clapper loader. Loads the camera, runs the slate and keeps the camera reports. See what a clapper loader does.
• Colourist. Grades the finished picture so the look is consistent. See what a colourist does.
• Composer. Writes the music for the film. See what a composer does.
• Construction manager. Oversees building the studios and sets, and hires the build crew. See what a construction manager does.
• Costume designer. Designs and sources the costumes. See what a costume designer does.
• Costume supervisor. Runs the wardrobe team on set and keeps costume continuity. See what a costume supervisor does.

D to F

• Data wrangler. Copies, checks and backs up the footage on set. See what a data wrangler does.
• Digital imaging technician. Advises the director of photography on digital exposure, checks quality and applies a first grade. See what a digital imaging technician does.
• Director. Leads on set, shapes the style of the film, works with casting and leads the edit. See what a director does.
• Director of photography. Leads the visual style with the director, planning the lighting, framing and camera movement. On small productions the DoP may also shoot. See what a director of photography does.
• Dolly grip. Moves the dolly or track the camera sits on. See what a dolly grip does.
• Editor. Assembles the shots into the finished film. See what an editor does.
• Executive producer. Leads a drama or raises money for a film, and deals with commissioners and financiers.
• Floor manager. On television, passes the director's instructions to the people on the studio floor. See what a floor manager does.
• Floor runner. Entry-level role on set. Runs errands, delivers kit and looks after food and drink. Find out more in what a runner does.
• Focus puller. Keeps the subject sharp as the actors or the camera move. See what a focus puller does.

G to K

• Gaffer. Designs and controls the lighting, hires the lighting crew and kit, and manages safety. See what a gaffer does.
• Grip. Plans and hires camera support equipment and adjusts setups quickly between takes.
• Grip trainee. Entry-level role. Moves and sets up equipment and clears it away between shots.
• Hair and make-up artist. Applies hair and make-up on set and keeps it consistent between shots. See what a hair and make-up artist does.
• Hair and make-up designer. Designs the look, sources products and hires the team. See what a hair and make-up designer does.
• Intimacy coordinator. Plans and supports scenes with nudity or simulated intimacy so the cast are safe and informed. See what an intimacy coordinator does.
• Jib operator. Moves the crane arm that carries the camera. See what a jib operator does.
• Key grip. Leads the grip department. See what a key grip does.

L to P

• Lighting console operator. Programmes and runs the lighting desk. See what a lighting console operator does.
• Lighting director. On television and live work, designs and balances the lighting for the cameras. See what a lighting director does.
• Lighting trainee. Entry-level role. Moves kit, runs errands and, under supervision, helps run cables and set lights.
• Line producer. Looks after crew and their contracts, budgets, and keeping filming safe, on time and on budget. See what a line producer does.
• Location manager. Finds and secures locations and manages them during the shoot. See what a location manager does.
• Producer. Raises the money, makes the deals, appoints the heads of department and oversees the practical, financial and creative sides. See what a producer does.
• Production accountant. Prepares budgets, then oversees payments, payroll and cost reports.
• Production buyer. Sources props with the set decorator. See what a production buyer does.
• Production coordinator. Runs the production office, arranging equipment, travel and paperwork. See what a production coordinator does.
• Production designer. Sets the visual look of the production with the director and other departments. See what a production designer does.
• Production manager. Manages the day-to-day running and budget of the shoot. See what a production manager does.
• Production runner. Entry-level role in the production office. Distributes call sheets, answers phones and keeps supplies stocked.
• Production sound mixer. Leads the recording of sound, mainly dialogue, and keeps the levels right. See what a production sound mixer does.
• Prop master. Runs the props department. See what a prop master does.

R to V

• Rigging gaffer. Leads the team that rigs the lights ahead of the shoot. See what a rigging gaffer does.
• Runner. The usual way in. Does errands and helps wherever the day needs it. Read getting your first job as a runner for how.
• Script supervisor. Keeps track of continuity across shots and records what was filmed. See what a script supervisor does.
• Set decorator. Dresses the sets to the production designer's vision. See what a set decorator does.
• Sound assistant. Supports the sound mixer with kit, cables and batteries. See what a sound assistant does.
• Spark. A lighting technician who rigs, powers and adjusts the lights under the gaffer. See what a spark does.
• Unit manager. Looks after the practical running of the unit, including the base and facilities. See what a unit manager does.
• VFX supervisor. Plans and oversees the visual effects. See what a VFX supervisor does.
• Video assist operator. Shows filmed footage on monitors for the director, and handles recording and playback. See what a video assist operator does.
• Vision mixer. On live and multi-camera shows, cuts between the cameras on the director's call. See what a vision mixer does.

Which of these does a small shoot need?

You rarely need the whole list. A rough guide by type of shoot:

The right crew depends on the job, so treat that table as a starting point.

How people get in

ScreenSkills' career map marks the entry-level roles clearly: runners, locations trainees, and trainees in camera, grip, lighting, sound, art, costume and hair and make-up. It says many people start as runners to build contacts and learn how productions work. Other routes it names include the ScreenSkills Trainee Finder, which offers paid placements and mentoring, kit hire companies and costume houses, and apprenticeships.

Honestly, the first job usually comes through somebody who has seen you work. Be early, be useful and be good company. The union Bectu is a useful source of advice on terms and contacts.

If you are hiring rather than looking for work, we list indicative day rates plus VAT: a spark from £350, an editor from £395, a camera operator or gaffer from £450, a sound recordist from £495, a director of photography from £575 and a director from £750. Our film crew hire page has the detail on booking.

Sources

• ScreenSkills, Film and TV drama career map, read 5 November 2026

Related guides

• Your first job as a runner: how to get in
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