Film Crew Positions Explained: A Set Hierarchy Guide (2026)
Every position on a film crew, organized by department and explained in plain English. Set hierarchy, what each role does, and who reports to whom on a 2026 production.
A film set is a hierarchy with rules. Every position has a defined responsibility, a department, and a person they report to. When the system works, it's the most efficient creative production process humans have ever built. When it breaks, it's because somebody crossed lines or skipped a rung.
This guide is a complete map. Every department, every position, what they do, who they report to, and how they fit together on a working set in 2026.
The Two Big Categories
Every position on a production falls into one of two buckets:
Above the line (ATL): the people whose creative vision drives the project. Writer, director, producers, principal cast. These roles are typically negotiated per-project, often with percentages of net or gross.
Below the line (BTL): everyone else. Department heads and technicians. Negotiated on day rates or weekly rates with kit fees and overtime.
The "line" refers to a literal line in a film budget separating the two categories. Above-the-line costs are typically fixed; below-the-line costs are variable based on day count and crew size.
This guide focuses on below-the-line crew positions, because those are the roles most people are trying to understand or break into. Above-the-line is briefly covered for context.
Above the Line
Writer
Creates the screenplay. On a feature, often hands off after the shooting script is locked. On TV, often runs the room and is also a producer. On commercials, often a creative director at an ad agency rather than a screenwriter.
Director
The creative lead on set. Makes the final call on every performance, every shot, every cut. Reports to the producers and ultimately to the financiers, but on set, the director's word is final.
Producers
Multiple flavors:
- Executive producer (EP): typically a financier or rights-holder. Sometimes hands-on, sometimes a credit.
- Producer: the project's manager. Hires the crew, secures financing, oversees the entire production from greenlight to delivery.
- Line producer: the day-to-day operational lead. Handles the budget, the schedule, the crew, the practical realities of getting the film made.
- Co-producer / associate producer: various flavors of contributing producer, often with specific responsibilities.
Principal Cast
The lead actors. Typically negotiated by their agents or managers, often with deal points around screen time, billing, and back-end participation.
Casting Director
Casts the cast. Sometimes considered above-the-line, sometimes below-the-line, depending on the project. On indie films, casting directors typically charge a flat per-project fee. See our Casting Director Rates guide for the breakdown.
Production Department
The department that runs the production logistically. The line producer's domain.
UPM (Unit Production Manager)
Oversees the practical day-to-day of the shoot. Reports to the producer or line producer. Manages the schedule, the crew, the locations, the budget. On smaller indie films, the line producer often performs UPM duties directly.
1st AD (First Assistant Director)
The on-set logistics lead. The 1st AD runs the floor: calls "rolling," runs the set, manages the schedule, keeps everyone moving. The director is the creative lead; the 1st AD is the operational lead. Reports to the director and the producer.
2nd AD
The 1st AD's right hand. Handles the call sheets, manages talent and background, prepares paperwork, runs base camp. Reports to the 1st AD.
2nd 2nd AD / Key 2nd AD
On larger productions, an additional AD layer. Handles specific zones (the set, base camp, holding) under the 2nd AD. Reports to the 2nd AD.
Production Coordinator
Runs the production office. Handles paperwork, scheduling logistics, travel, accommodations, vendors. Reports to the line producer or UPM.
Assistant Production Coordinator (APOC)
Supports the production coordinator. Reports to the coordinator.
Production Assistant (PA)
The entry-level on-set role. Handles lockup, walkie traffic, runs, set prep. Reports to the 2nd AD on set, to the coordinator in the office. See How to Become a Production Assistant for the full path.
Script Supervisor
Tracks continuity, takes notes, watches for errors, marks the script during the shoot. Reports to the director and the editor.
Camera Department
The department that captures the image. The DP's domain.
DP / Cinematographer (Director of Photography)
The visual lead on set. Designs the lighting and camera approach, in collaboration with the director. Reports to the director.
Camera Operator
Operates the camera physically. On smaller productions, the DP often operates. On larger ones, dedicated operators are hired (A-camera op, B-camera op, etc.). Reports to the DP.
1st AC (First Assistant Camera) / Focus Puller
Pulls focus during takes, manages the camera body, manages lens changes. The technical lead under the operator. Reports to the camera operator and the DP.
2nd AC (Second Assistant Camera)
Slates each take, manages the slate and clapperboard, marks the actors' positions, supports the 1st AC. Reports to the 1st AC.
DIT (Digital Imaging Technician)
Manages the digital workflow on set: data wrangling, on-set color, dailies prep. The bridge between camera and post. Reports to the DP.
Loader / Camera Trainee
On larger productions, an additional support role for the AC team. Manages film stock (on film projects) or backup cards (on digital). Reports to the 1st AC.
Steadicam Operator / Specialty Camera Op
Specialized operators for specific rigs (Steadicam, gimbal, drone, underwater). Reports to the DP.
G&E Department (Grip and Electric)
Two separate departments that work in close partnership. Often counted as one for budget purposes.
Gaffer
The lighting department head. Designs and executes the lighting plan in collaboration with the DP. Reports to the DP. See How to Become a Gaffer for the path.
Best Boy Electric
The gaffer's second-in-command. Manages the electric crew, handles the gear inventory, manages truck. Reports to the gaffer.
Electrician (3rd Electric, 4th Electric, etc.)
Sets up and runs lights, runs cable, distributes power. Reports to the best boy.
Rigging Gaffer / Rigging Electric
On larger productions, a separate crew that pre-rigs lights before shoot days. Reports to the gaffer or directly to the line producer.
Key Grip
The grip department head. Handles non-electric on-set support: dollies, cranes, flags, diffusion, stands, rigging. Works in close partnership with the gaffer. Reports to the DP. See How to Become a Grip in LA for the path.
Best Boy Grip
The key grip's second-in-command. Manages the grip crew, gear, truck. Reports to the key grip.
Grip (Dolly Grip, Rigging Grip, 3rd Grip, etc.)
Sets up grip equipment, runs dollies, places flags and bounce, supports camera moves. Reports to the best boy grip.
Sound Department
The smallest department on most sets, but one of the most technically specialized.
Sound Mixer / Production Sound Mixer
The on-set audio lead. Captures dialogue, mixes live, manages wireless mics and lavs. Reports to the producer or director on a creative level, the line producer on a budget level.
Boom Operator
Holds the boom mic during takes. Reports to the sound mixer.
Sound Utility / Cable Wrangler
On larger productions, a third sound person who handles cabling, mic placement, and backup. Reports to the sound mixer.
Art Department
The department that designs and builds the world on screen.
Production Designer
The visual world's lead. Designs sets, locations, color palette, props, set dressing, in collaboration with the director and DP. Reports to the director.
Art Director
The production designer's second-in-command. Manages the day-to-day execution of the art department, the construction crew, set decoration. Reports to the production designer.
Set Decorator
Designs and selects everything in the set that isn't built (furniture, dressing, props). Reports to the production designer.
Lead Person / Set Dresser
Executes the set decorator's plan. Brings dressing in, places it, strikes it. Reports to the set decorator.
Props Master
Designs, sources, and manages all props (anything an actor handles or that affects the story). Often considered separate from set decoration. Reports to the production designer.
Construction Coordinator / Carpenter / Painter
Builds physical sets. On indie shoots, these roles are minimal or contracted out. On larger productions, full crews. Reports to the art director.
Costumes Department
Costume Designer
Designs the costumes for principal cast, in collaboration with the director and production designer. Reports to the director.
Assistant Costume Designer
Supports the costume designer. Manages fittings, sourcing, paperwork. Reports to the costume designer.
Costumer / Set Costumer
On-set costume support. Handles continuity, dressing, repairs, costume changes during the day. Reports to the costume designer.
Wardrobe Supervisor
On larger productions, the wardrobe department's day-to-day lead. Manages the wardrobe truck, the costumer team. Reports to the costume designer.
Hair and Makeup (HMU)
Often abbreviated together as HMU even though they're technically two roles.
HMU Department Head / Key Hair, Key Makeup
The hair and makeup leads. On smaller productions, often one person. On larger, two: a key hair stylist and a key makeup artist. Report to the costume designer or production designer, depending on the show.
Hair Stylist / Makeup Artist
Executes the looks designed by the department heads. Reports to the key.
Special Effects Makeup Artist
Specialty role for prosthetics, wounds, blood, aging effects. Reports to the key.
Locations Department
The department that secures, manages, and runs the physical locations of the shoot.
Locations Manager
The locations lead. Scouts, secures, and negotiates locations. Manages property owner relationships, permits, and on-the-day logistics. Reports to the producer.
Assistant Locations Manager / Key Assistant
The locations manager's second-in-command. Often handles the day-of logistics while the manager scouts the next location.
Location Scout
A specialist who scouts only. Photographs potential locations, prepares scout packages for the director and producer. Reports to the locations manager.
Locations PA
The locations department's entry-level role. Posts permit notices, manages parking, supports the manager's day-to-day. Reports to the locations manager.
Post-Production
Post happens after principal photography wraps, but post crew often start during prep.
Editor
Cuts the film. Works with the director to shape performance, pace, and story. Reports to the director.
Assistant Editor
Manages footage, sync, paperwork, technical workflow. Reports to the editor.
Sound Designer / Sound Editor
Designs the sound landscape: dialogue cleanup, foley, sound effects, ADR. Reports to the director.
Re-Recording Mixer
Mixes the final audio for theatrical or streaming delivery. Reports to the director.
Composer
Writes the score. Reports to the director.
Colorist
Color-grades the final picture. Reports to the director and DP.
VFX Supervisor
Designs and oversees visual effects. Reports to the director.
Online Editor / Conform Editor
Prepares the final picture file for delivery. Reports to the editor.
Casting
Casting Director
Casts the cast. Designs the audition strategy, reads with talent, presents options to the director. Reports to the director and producer. See How to Become a Casting Director for the path.
Casting Associate
The casting director's second-in-command. Often handles second-tier roles, day-players, and supporting cast. Reports to the casting director.
Casting Assistant
Supports the casting office. Schedules sessions, organizes self-tapes, runs paperwork. Reports to the casting director or associate.
Background Casting Director / Extras Casting
Specialist who casts background actors and extras. Often a separate company from principal casting. Reports to the producer.
Stunts and Specialty
Stunt Coordinator
Designs and supervises all stunt work. Reports to the director.
Stunt Performers
Execute stunts. Reports to the stunt coordinator.
Animal Wrangler / Trainer
Manages any animals on set (horses, dogs, livestock, anything). Reports to the producer.
Special Effects Coordinator (SFX, mechanical)
Designs and executes practical effects (fire, water, breakaway glass, vehicle effects). Different from VFX (visual effects), which is post. Reports to the director.
Picture Vehicle Coordinator
Manages any vehicle that appears on screen. Reports to the producer.
Marine Coordinator / Air Coordinator
Specialty leads for water shoots and aerial photography. Report to the producer.
Transportation and Craft Service
Transportation Coordinator
Manages all production vehicles: trucks, cast cars, talent vans, crew shuttles, prop vehicles. Reports to the producer.
Driver
Drives a specific vehicle (5-ton truck, 10-ton truck, cube van, talent van, crew van). Reports to the transportation coordinator.
Craft Service
Provides snacks, drinks, and the constant stream of small fuel that keeps a crew going through a 12-hour day. Different from catering (which provides full meals). Reports to the producer.
Caterer
Provides full crew meals (breakfast, lunch, second meal). Often a third-party vendor. Reports to the producer.
How the Hierarchy Works
A simplified diagram of who reports to whom on a typical film set:
Director
|
+------------------+------------------+
| | |
Producer 1st AD DP
| | |
Line Producer 2nd AD +-------+--------+
| | | | |
UPM Set/Office PA Camera G&E Sound
| |
Production Gaffer
Coordinator Key Grip
|
Best Boys
|
Electric/Grip crew
Department heads report to either the director (for creative decisions) or the producer (for budget and logistics). Below department heads, each crew member reports up their own department.
The most important rule of set communication: don't skip a rung. If you're a grip, you talk to the best boy grip, who talks to the key grip, who talks to the gaffer or directly to the DP. If you go around your department head, you damage that relationship and theirs.
How Crew Work Together
The handful of unwritten rules that make a set work:
1. Departments coordinate, departments don't override. The art department designs the set; camera shoots it; locations clears it for filming. Each department has authority in their domain and asks (not tells) other departments to do work in theirs.
2. The 1st AD is the floor lead. When the 1st AD says "we're moving on," the camera department starts striking. The grip and electric crew start striking lights. Talent goes to wardrobe. The 1st AD sets the pace.
3. Talent is treated with care. Talent stays in their trailer or holding area until called. No one chats up the actors except for legitimate work reasons. No photos. No social media.
4. Crew look out for crew. If a grip is hurt, the grip department handles it first; production fills in. If craft service runs out of coffee, it's not just craft's problem; whoever notices, fixes it.
5. Wrap is a department-by-department process. The 1st AD calls "wrap." Each department breaks down their gear in their order. When everyone is wrapped, base camp wraps, and the trucks roll.
Union Locals (Quick Reference)
Most professional crew in 2026 belong to one or more unions. The major locals:
- DGA (Directors Guild of America): directors, ADs, UPMs
- SAG-AFTRA: actors, voiceover artists
- WGA (Writers Guild): screenwriters and TV writers
- IATSE Local 600: cinematographers and camera crew
- IATSE Local 728: set lighting (gaffer, best boy, electric)
- IATSE Local 80: grips
- IATSE Local 695: production sound
- IATSE Local 706: hair and makeup
- IATSE Local 800: art directors
- IATSE Local 892: costume designers
- IATSE Local 161: production office, accountants, script supervisors
- Teamsters Local 399 / 817: transportation
For most working crew, joining a union is a milestone reached after enough qualifying days, not a starting point.
How to Get Started in Any Department
The fastest path into any department is the same:
- Get on every list (NeedaCrew, Mandy, Staff Me Up, regional Facebook groups)
- Take any job that gets you near your target department
- Become the dept lead's go-to PA
- Ask for a department-specific role on the next show
- Repeat until you're in the chair
Sign up free on NeedaCrew → to get found by productions in your city, in any department.
TL;DR
- Above the line: writer, director, producers, principal cast
- Below the line: every department (production, camera, G&E, sound, art, costumes, HMU, locations, post, casting, stunts, transpo, craft)
- Each department has a head, often a second-in-command, and a crew below them
- The 1st AD runs the floor; the director makes creative calls; the producer manages budget and logistics
- Don't skip rungs. Talk to your direct supervisor first.
- For day rates by role and city, see our Film Crew Day Rates Guide (2026)