THE People of
Independent Film

Screenwriter

WGA — Writers Guild of America

Writes the screenplay from concept through final draft. Responsible for story, dialogue, structure, and character. On union productions, compensation and working conditions are governed by the WGA Basic Agreement.

Director

DGA — Directors Guild of America

The primary creative force on the film. Translates the screenplay into visual storytelling, guides performances, and makes final decisions on every creative element from pre-production through post.

Executive Producer

PGA — professional association, not a union

Typically the financier, rights holder, or studio representative who holds ultimate authority over the project. May be hands-on in development or largely absent from day-to-day production.

Producer

PGA — professional association, not a union

Manages the film from development through final delivery. Hires the key team, controls the budget, navigates distribution, and shepherds the project alongside the director at every stage.

Co-Producer

PGA — professional association, not a union

Shares core producing responsibilities. Often oversees a specific shoot, phase, or co-production territory. The credit reflects a meaningful level of production responsibility.

Associate Producer

PGA — professional association, not a union

Supports the lead producer in a significant capacity. The credit is awarded for substantial contributions to development, financing, or production — not a junior role, but a specific acknowledgment.

Line Producer

PGA — professional association, not a union

Manages the physical production on behalf of the producer. Responsible for translating the budget into a shooting schedule, hiring department heads, and ensuring the day-to-day operation of the production runs on time and on budget.

Principal Actor

SAG-AFTRA — Screen Actors Guild / American Federation of Television and Radio Artists

The speaking and featured performers who bring the characters to life. On SAG-AFTRA productions, casting, compensation, and working conditions are governed by the applicable theatrical or low-budget agreement.

Stunt Coordinator

SAG-AFTRA

Designs, plans, and oversees all stunt sequences. The Stunt Coordinator is responsible for the safety of every person involved in action work and hires all stunt performers on the production.

Stunt Performer

SAG-AFTRA

Performs physically dangerous or demanding sequences in place of or alongside principal cast members. Trained specialists whose work requires both athletic skill and precise safety awareness.

Unit Production Manager

DGA — Directors Guild of America

Manages the day-to-day logistical and financial operations of the production on set. Works under the producer to execute the production plan, manage department heads, and keep the shoot on schedule and within budget.

Script Supervisor

IATSE — Local 871 (LA)

Tracks continuity of action, dialogue, wardrobe, and props across every take. The essential link between the set and the editing room — their notes and reports guide the editor through every scene.

Production Supervisor

IATSE — varies by local

Oversees the operational flow across production departments, serving as a liaison between the Line Producer and the heads of each department. Often manages specific shoot phases or second unit operations.

Production Coordinator

IATSE — Local 717 (LA)

Runs the production office and manages the flow of information between departments, vendors, cast, and crew. Handles call sheets, deal memos, travel, and all logistical paperwork that keeps the production moving.

Assistant Production Coordinator

IATSE — Local 717 (LA)

Supports the Production Coordinator with scheduling, vendor communications, crew paperwork, and the day-to-day operation of the production office.

Production Secretary

IATSE — Local 717 (LA)

Handles production office correspondence, script distribution, and administrative duties. Often the first point of contact for incoming crew inquiries and vendor communication.

Production Assistant

Non-union

Entry-level position supporting any department as needed. PAs handle logistics, run errands, assist with general set operations, and are often the foundation of the production office or set workflow.

Casting Director

CSA — professional association, not a union

Identifies, auditions, and presents actors for all roles. Works closely with the director on character interpretation and assists in negotiating actor deals. The CSA is a professional association with standards, but no collective bargaining agreement.

Intimacy Coach

Non-union

Coordinates and facilitates scenes involving physical or emotional intimacy between performers. Creates a safe, consent-based environment on set, working with cast and the director to choreograph and support sensitive scenes. A non-union role with growing professional standards and advocacy bodies.

1st Assistant Director

DGA — Directors Guild of America

Manages the set on a moment-to-moment basis. Creates and maintains the shooting schedule, calls the shots, coordinates all departments, and ensures the production day runs on time. The director’s closest operational partner on set.

2nd Assistant Director

DGA — Directors Guild of America

Prepares daily call sheets and manages the flow of cast through hair, makeup, wardrobe, and to set. Acts as a communications hub between the 1st AD and all departments.

2nd 2nd Assistant Director

DGA — Directors Guild of America

Assists the 2nd AD on larger productions. Often manages background performers, basecamp, and set flow — ensuring the right people are in the right place at the right time.

Set PA

Non-union

Works directly under the AD team on set. Manages walkie distribution, locks up locations during takes, assists with background movement, and handles any logistical needs as the day unfolds.

Director of Photography

IATSE — Local 600, International Cinematographers Guild (LA)

The head of the camera and lighting departments. The DP is responsible for the visual language of the film — lighting design, camera placement, lens choice — in close collaboration with the director.

Camera Operator

IATSE — Local 600 (LA)

Operates the camera body under the DP’s direction, executing the composition and movement of each shot. On smaller productions, the DP often operates as well.

1st Assistant Camera

IATSE — Local 600 (LA)

Pulls focus during every take — one of the most technically demanding roles on set. Also manages camera prep, assembly, and maintains the camera report log for each shooting day.

2nd Assistant Camera

IATSE — Local 600 (LA)

Slates each take, manages media (on digital productions), loads film (on film productions), and supports the 1st AC with camera prep and breakdown.

Digital Imaging Technician

IATSE — Local 600 (LA)

Manages on-set data capture and monitors, ensuring the integrity of digital image files from camera card to secure backup. Also maintains the on-set look using calibrated displays and LUT management.

Still Photographer

IATSE — Local 600 (LA)

Documents production with high-quality stills for publicity, press kits, social media, and archival purposes. Works around the shooting day without interrupting the camera department.

Production Sound Mixer

IATSE — Local 695 (LA)

The head of the sound department on set. Selects and places microphones, manages the recording chain, and is responsible for capturing the cleanest possible dialogue and on-set audio.

Boom Operator

IATSE — Local 695 (LA)

Operates the boom pole and microphone, positioning it as close to the performers as possible without entering the frame. Works in close coordination with the Sound Mixer and the camera department.

Key Grip

IATSE — Local 80 (LA)

Heads the grip department. Works with the DP and Gaffer to design and rig all camera support, dollies, cranes, and light control equipment. The Key Grip is a department head in every sense.

Best Boy Grip

IATSE — Local 80 (LA)

The Key Grip’s first assistant. Manages grip crew scheduling, equipment rentals, and inventory — the operational backbone of the grip department.

Dolly Grip

IATSE — Local 80 (LA)

Operates the camera dolly for moving shots, working closely with the camera operator and 1st AC to execute smooth, precisely timed movements.

Grip

IATSE — Local 80 (LA)

Sets and strikes all grip equipment: stands, flags, frames, diffusion, and rigging. The grip crew is essential to shaping light and supporting every camera movement on set.

Gaffer

IATSE — Local 728 (LA)

Chief lighting technician and head of the electric department. Executes the DP’s lighting design — choosing fixtures, plotting power, and leading the lighting crew through every setup.

Best Boy Electric

IATSE — Local 728 (LA)

The Gaffer’s first assistant. Manages the electric crew, equipment logistics, and rental orders — keeping the department organized and ready to move.

Set Lighting Technician

IATSE — Local 728 (LA)

Rigs, positions, and operates lighting instruments under the Gaffer’s direction. Handles cabling, power distribution, and the physical placement of all electric equipment on set.

Generator Operator

IATSE / Teamsters — varies by jurisdiction

Operates and maintains the generator unit that provides power to the production. Essential on location shoots where grid power is unavailable or insufficient.

Production Designer

IATSE — Local 800, Art Directors Guild (LA)

The head of the art department and the architect of the film’s visual world. Responsible for the overall look of every set, location, and built environment in collaboration with the director and DP.

Art Director

IATSE — Local 800 (LA)

Manages the day-to-day execution of the production designer’s vision. Oversees set construction, budgeting within the art department, and the coordination of all art department vendors.

Set Designer

IATSE — Local 800 (LA)

Creates the technical drawings, blueprints, and plans for all sets and built environments. Bridges the creative vision of the production designer with the practical needs of the construction team.

Illustrator

IATSE — Local 800 (LA)

Creates visual concept art, storyboards, and production illustrations that help the director and production designer communicate the look and feel of the film before the camera rolls.

Art Department Coordinator

IATSE — Local 800 (LA)

Manages paperwork, scheduling, and communications across the art department. The operational hub that keeps designers, buyers, and construction crews connected and on track.

Set Decorator

IATSE — Local 44 (LA)

Responsible for all furnishings, decorative objects, and dressing elements inside a set. Works under the production designer to express character, period, and world through every detail of the physical space.

Lead Person

IATSE — Local 44 (LA)

The set decorator’s first assistant on the floor. Manages the set dressing crew during prep and shooting, overseeing the placement and return of all dressing elements.

Set Dresser

IATSE — Local 44 (LA)

Places and arranges all furniture and dressing elements on set per the decorator’s direction. Works across prep, shooting days, and strike to ensure the set looks right from every angle.

On-Set Dresser

IATSE — Local 44 (LA)

Maintains continuity of set dressing during filming. Makes real-time adjustments between takes to ensure every element remains exactly as the director and decorator intend from shot to shot.

Property Master

IATSE — Local 44 (LA)

Responsible for all props handled by cast during production. Sources, tracks, and maintains every prop through prep and shooting, ensuring continuity is preserved across every take.

Assistant Property Master

IATSE — Local 44 (LA)

Supports the Property Master with sourcing, prepping, and tracking all props on set and in the prop room throughout the production.

Construction Coordinator

IATSE — Local 44 (LA)

Oversees the construction of all built sets and scenic elements. Manages the carpentry crew, reads the art director’s technical plans, and delivers finished sets on schedule.

Head Carpenter

IATSE — Local 44 (LA)

Leads the carpentry team in building, finishing, and striking all set pieces and scenic constructions under the direction of the Construction Coordinator.

Scenic Charge Artist

IATSE — Local 729

Leads the scenic painting department. Oversees all paint finishes, aged or textured surfaces, murals, and decorative treatments applied to sets and built elements.

Scenic Artist

IATSE — Local 729

Paints and finishes set surfaces, backdrops, and scenic elements to the Scenic Charge Artist’s specifications. Skilled in faux finishes, aging, texture, and decorative painting techniques.

Costume Designer

IATSE — Local 892, CDGA (LA) or Local 705

Designs or sources all wardrobe for the film. Responsible for expressing character identity, period, and story through clothing — working in close collaboration with the director and production designer.

Costume Supervisor

IATSE — Local 705 (LA)

Manages the wardrobe department’s day-to-day operations, budget, and crew. Responsible for tracking all costumes and ensuring the designer’s vision is executed consistently across the production.

Set Costumer

IATSE — Local 705 (LA)

Dresses and assists actors in their costumes on set during filming. Maintains wardrobe continuity between takes and handles all on-set costume needs throughout the shooting day.

Costumer

IATSE — Local 705 (LA)

Handles costume prep, fittings, alterations, and maintenance in the wardrobe department. Works across the full range of production wardrobe needs during prep and wrap.

Cutter / Fitter

IATSE — Local 705 (LA)

Constructs and alters garments to fit each actor precisely. Brings tailoring and pattern-making expertise to the wardrobe department, ensuring every costume looks and moves as intended on camera.

Department Head Makeup Artist

IATSE — Local 706 (LA)

Leads the makeup department. Designs all makeup looks for the film in consultation with the director and DP, and oversees their consistent application throughout production.

Makeup Artist

IATSE — Local 706 (LA)

Applies and maintains makeup for cast members during production. Works from the department head’s designs and maintains continuity across all shooting days.

Special Effects Makeup Artist

IATSE — Local 706 (LA)

Creates prosthetics, wounds, aging effects, creature makeup, and other specialized applications that cannot be achieved with standard cosmetics. A distinct and highly specialized craft within the makeup department.

Department Head Hairstylist

IATSE — Local 706 (LA)

Leads the hair department. Designs hairstyling for all cast in collaboration with the director, overseeing continuity and supervising the hair crew throughout production.

Hairstylist

IATSE — Local 706 (LA)

Styles and maintains cast hair during production under the direction of the department head. Ensures consistency and accuracy across every take and shooting day.

Special Effects Supervisor

IATSE — Local 44 (LA)

Designs and oversees all on-set practical special effects — pyrotechnics, rain, wind, snow, fog, mechanical rigs, and controlled explosions. Responsible for both the creative vision and the safety of every practical effect.

Special Effects Technician

IATSE — Local 44 (LA)

Builds and operates practical effects equipment under the SFX Supervisor’s direction. Prepares, rigs, and safely executes every effect during filming.

Marine Coordinator

Non-union / Teamsters — varies by jurisdiction

Manages all production activities on or near water. Responsible for vessel sourcing, safety compliance, crew safety on water, and coordinating with maritime authorities for any on-water shooting.

Animal Coordinator

Non-union / Teamsters — varies

Manages all animals used in the production. Ensures compliance with American Humane guidelines, coordinates with the AD team on animal sequences, and oversees the safety and welfare of all animals on set.

Animal Handler / Wrangler

Non-union / Teamsters — varies

Trains, cares for, and handles animals on set under the Animal Coordinator’s direction. Ensures each animal performs safely and as required for the scene.

Location Manager

Teamsters — Local 399 (LA)

Finds, scouts, and secures all filming locations. Negotiates location agreements, manages permits, liaises with local authorities, and serves as the production’s primary contact with location owners throughout the shoot.

Key Assistant Location Manager

Teamsters — Local 399 (LA)

The Location Manager’s first assistant. Advances locations, manages wrap, and handles day-to-day coordination with location owners and city departments.

Assistant Location Manager

Teamsters — Local 399 (LA)

Supports location management with scouting research, paperwork, permit applications, and on-site coordination during production days.

Location Scout

Teamsters — sometimes; varies by production

Researches, photographs, and presents potential filming locations to the director and production designer. Works in the early stages of pre-production to build a database of options for every scene.

Location Assistant

Non-union — varies

Provides on-site support at locations during production days: managing access, directing crew, handling signage, and supporting location wrap at the end of each day.

Transportation Coordinator

Teamsters — Local 399 (LA)

Manages all production vehicles, equipment trucks, and driver scheduling for the duration of the shoot. Responsible for the movement of every piece of gear and every person from prep through wrap.

Transportation Captain

Teamsters — Local 399 (LA)

Oversees on-set transportation operations and leads the driving crew through each production day. The Transportation Coordinator’s operational right hand on set.

Driver

Teamsters — Local 399 (LA)

Transports cast, crew, and production equipment between locations, basecamp, and staging areas. Each driver is typically assigned a specific vehicle or trailer for the duration of the production.

Picture Car Coordinator

Teamsters — Local 399 (LA)

Sources, maintains, and coordinates all vehicles that appear on camera. Works with the production designer and director to find period-accurate or story-appropriate picture cars for each scene.

Entertainment Attorney

Non-union

Handles all legal matters for the production: contracts, rights clearances, chain of title, union agreements, co-production deals, and any disputes that arise. An essential partner from development through distribution.

Production Accountant

IATSE — varies by local

Manages the production’s budget, tracks expenditures, and produces weekly cost reports. The Production Accountant ensures the financial records of the film are accurate, compliant, and audit-ready.

Set Medic

IATSE — Local 80, varies by jurisdiction

Provides on-set emergency medical care and maintains health and safety compliance throughout the shooting day. Required on many productions by guild agreement and increasingly standard on all sets.

Safety Coordinator

DGA / IATSE — varies

Identifies and mitigates on-set safety risks across all departments. Develops safety protocols in coordination with the AD team and ensures all crew are briefed on hazards before any dangerous work begins.

Craft Service Coordinator

IATSE — Local 80 (LA)

Maintains the craft service station and provides between-meal snacks, beverages, and refreshments to the cast and crew throughout every production day. A constant and essential presence on set.

Craft Service Assistant

IATSE — Local 80 (LA)

Supports the Craft Service Coordinator with setup, restocking, and cleanup throughout the day. Keeps the craft service area stocked, clean, and welcoming across all shooting locations.

Caterer

Non-union — varies by production

Provides full meals — typically breakfast, lunch, and a walkaway — to the cast and crew. On a production, catering is a contracted service that significantly affects crew morale and schedule adherence.

Post Production Supervisor

Non-union — varies

Oversees the entire post production process from picture lock through final delivery. Manages the post schedule, budget, and vendor relationships across editorial, VFX, sound, color, and music — the producer’s point person for everything after the wrap.

Film Editor

IATSE — Local 700, Motion Picture Editors Guild (LA)

Assembles the film from production footage. The editor shapes the story’s pacing, structure, and emotional arc in close collaboration with the director — and is often involved from the first day of principal photography.

First Assistant Editor

IATSE — Local 700 (LA)

Manages the editing room: syncing dailies, organizing media, building the Avid or Premiere project, preparing sequences for the editor, and keeping the workflow running smoothly throughout post.

Second Assistant Editor

IATSE — Local 700 (LA)

Handles administrative and technical tasks in the editing room: transcriptions, paperwork, media management, and supporting the first assistant with the day-to-day operation of the post environment.

Composer

Non-union — AFM covers session musicians performing the score

Creates the original score for the film. Works with the director from spotting sessions through final mix, writing, recording, and delivering music that shapes the film’s emotional identity. Session musicians performing recorded score elements may fall under AFM agreements.

Music Supervisor

Non-union — varies

Selects, pitches, and licenses pre-existing music for use in the film. Bridges the creative and legal sides of music placement — ensuring every song is cleared for all media and territories required by the distribution deal.

VFX Supervisor

IATSE — Local 839 / VES is a professional association, not a union

Oversees all visual effects work from pre-production planning through final delivery. Bridges on-set requirements — plates, tracking markers, reference photography — with the post production pipeline and vendor teams.

VFX Producer

Non-union — varies

Manages the VFX budget, schedule, and vendor relationships throughout post production. Acts as the operational counterpart to the VFX Supervisor, ensuring creative ambitions are achievable within the production’s resources.

Sound Designer

IATSE — Local 695 (LA)

Creates the sonic world of the film — from ambient environments and location texture to entirely unique, designed sound effects. Often one of the most creatively influential roles in post production.

Re-Recording Mixer

IATSE — Local 695 (LA)

Balances and blends all audio elements — dialogue, music, and sound effects — in the final mix. The Re-Recording Mixer is responsible for the overall sonic experience of the finished film.

Dialogue Editor

IATSE — Local 700 (LA)

Cleans and assembles all production dialogue, replacing or repairing audio where needed and preparing the dialogue tracks for the final mix. Often works closely with the ADR Supervisor when re-recording is required.

Sound Effects Editor

IATSE — Local 700 (LA)

Builds the sound effects track from library sounds, custom recordings, and the sound designer’s created elements. Assembles and prepares all SFX for the final mix.

ADR Supervisor

IATSE — Local 695 / 700 (LA)

Oversees the re-recording of dialogue in a studio (Automated Dialogue Replacement) to replace or improve on-set audio. Coordinates cast ADR sessions, cueing, and approval with the director and dialogue editor.

Colorist

IATSE — Local 700, Motion Picture Editors Guild (LA)

Performs the final color grading of the film. Working with the director and DP, the Colorist shapes the visual tone, mood, and consistency of every scene — from the darkest shadows to the brightest highlights — and prepares deliverables for all distribution formats.

Publicist

Non-union

Manages the film’s press strategy, media outreach, and publicity campaigns from festival submission through release. Secures reviews, features, interviews, and editorial coverage across print, digital, and broadcast outlets.

Trailer Editor

Non-union

Cuts promotional trailers, teasers, and clips designed to generate audience interest, distributor attention, and press coverage for the film. A distinct editorial skill from feature cutting — focused on pace, hook, and campaign strategy.

Marketing Director / Coordinator

Non-union

Develops and executes the overall marketing strategy for the film’s release. Manages paid advertising, partnerships, key art, campaign assets, and the coordination of all promotional efforts across theatrical, digital, and ancillary windows.

Social Media Manager

Non-union

Manages the film’s presence across social platforms — creating content, building audience engagement, responding to the community, and running platform-specific campaigns before, during, and after release.