The Definitive Film Crew Hierarchy Chart

(source: www.filminquiry.com)

Electrical Department

1. Gaffer: The gaffer is in charge of the electrical department and serves as the set's chief lighting technician. The gaffer's responsibility is to oversee a group of lighting specialists as they carry out a production's lighting design.
2. Best Boy Electric: Acts as the gaffer's principal assistant.
3. Generator Operator: Installs electrical generators on location or on a set when electricity is otherwise unavailable to supply extra power or where existing circuits are insufficient.
4. Lighting specialists: Assist the gaffer by carrying out the lighting scheme.\
    

Grip Department

1. Key Grip- The grip chief for the division. The key grip and their grip team are in charge of managing all of the rigging and other production-related equipment. Putting down sandbags, setting up overheads and silks, mounting lights on moving vehicles for running shots, and moving and fixing heavy equipment are a few key responsibilities.
2. Best boy grip- Serves as the Key Grip's main supporter.
3. Dolly grip- A specialist with special training in operating camera dollies is known as a "dolly grip." A camera operator and a camera assistant ride on the dolly as this technician positions, levels, and moves the dolly track.
4. Grip- Manages all rigging chores for a movie production, assisting the Key Grip and Best Boy Grip.
    

Art Department

1. Production designer- Focuses on creating the film's overall "look." Working collaboratively with the director and producer, they choose a design aesthetic for the sets, locations, graphics, props, lighting, camera angles, and costumes.
2. Art Director- The production designer's direct assistant, the art director, is in charge of setting up and decorating the stage.
3. Set designer- In charge of planning and building the backdrops for the movie.
4. Concept Illustrator- In charge of planning and building the backdrops for the movie.
5. Storyboard Artist- The storyboard artist collaborates with the director to visually interpret the screenplay and creates a series of hand-drawn or computer-generated drawings, known as storyboards, to depict the plot. when making a live-action movie, more frequently collaborates with the director, DoP and creative team than when making an animated movie.

Construction Department

1. Construction Coordinator: Oversee the work of a group of artisans, such as carpenters, painters, riggers, and plasterers, to guarantee that all sets are finished on time, under budget, and in accordance with production specifications.

Casting Department

1. Casting director- Actors are cast for all of the roles in a movie by the casting director, who coordinates and facilitates the process.
2. Local Casting director- A local casting director is employed to enable local hires if the project is shot in many locations.
3. Extras Casting director- Find extras for a big-budget movie.
    

Cast

1. Stand in- An individual who fills in for an actor prior to production for technical requirements like lighting and camera setup while collaborating closely with the camera crew.
2. Background- Actors who don't have dialogues

Hair and Make-up Department

1. Key Hair Stylist- The head of the hair department collaborates with the director, production designer, and key makeup artist to develop distinctive looks that complement the movie's overall aesthetic.
2. Key make-up artist- Apply makeup to actors playing lead roles and maintain consistency in application throughout the production. They would also execute any exceptionally intricate designs when required.

Costume Department

1. Costume Designer- The person in charge of creating the outfits worn by performers in a movie is a costume designer.
2. Wardrobe Supervisor- The wardrobe supervisor oversees the arrangement, upkeep, and consistency of the costumes during the movie shoot.

Location Department

1. Location Manager- Involved with locating and securing the production's locations, collecting all necessary fire, police, and other governmental permits, and organising the logistics necessary to carry out the production's tasks.
2. Location Scout- Looks for indoor or outdoor locations to use as the backdrop for situations that are described in a script.
3. Location Security- Provides a safe and secure environment for production thanks to location security.

Sets Department

1. Set decorator- Set decorators are in charge of filling sets with elements that are distinctive to characters and their settings, from daily routines and other minute details to the adornment of artwork and furniture.
2. On set dresser- Before filming, they arrange items on a set like placing furniture, hanging photos, and arranging decorative things. They are supervised by the set decorator and the production designer.
3. Greensman- Works closely with the special effects crew, set decorators, and production designers to bring the director's vision for the setting of the film to life.

Prop Department

1. Property master- The props are prepared for each day's shoot by the property master, who also makes, stores, and transports the props. While creating props, they hire carpenters, artists, and prop manufacturers and in lieu with the production schedule.
2. Assistant Prop Master- Helps the prop master out with anything the actors lay hands on on the set. They make sure the appropriate props are prepared, available for use during filming, and archived once a scene is finished.

Stunts Department

1. Stunt Coordinator- A skilled stunt performer typically serves as the stunt coordinator. Their responsibility is to coordinate the stunt performers and doubles needed for the movie's stunts as well as their casting.
2. Stunt Double- A highly skilled individual hired to carry out perilous parts in the movie, frequently filling in for actors so they don't get hurt.

Sound Department

1. Sound Mixer- The head of the team in charge of mixing all the audio used in filming. The main component of this is dialogue, though there may also be sound effects and ambience.
2. Boom Operator- Operates the recording paraphrenalia. The primary duty of the boom operator is to record sound during each take. They do this using   a boom mic that is suspended above the shot with a boom arm/boom pole.

Special Effects Department

1. Special Effects Supervisor- The person in charge of overseeing special effects is in charge of planning everything from on-set car chases to creating explosions.

Transportation Department

1. Transportation Coordinator- The transportation coordinator, who serves as the department's head, is in charge of securing and overseeing the use of all vehicles necessary for a production, including big trucks, trailers for the wardrobe, makeup, hair, lighting, camera, and hair departments, dressing room trailers, honey waggons, private trailers for the director, talent, and others, picture cars, and all cast and crew rentals. Additionally, the coordinator employs and oversees the drivers and captain of the transports.
2. Transport Captain- Makes sure that private automobiles, minibuses, or coaches are used to pick up passengers from the appropriate location and get them to the set on time.
3. Drivers- Physically operate all production vehicles that are given and drive them to and from the filming locations. This involves the safe transportation of all actors, staff, and equipment to and from the film set, keeping to the schedule

Craft Service Department

1. Craft Service- Craft Service is another name for "Crafties." The drinks, snacks, and sweets that are always available to the crew and talent while they are working are the responsibility of this person or team.

Catering Department

1. Chef- The catering staff is in charge of providing the production talent and crew with hot, sit-down meals, as opposed to craft service, which is available continuously during the shooting day and night. Catering typically begins serving its first lunch six hours after filming begins and its second meal six hours later. Meals last between 30 and 60 minutes.

Post Production Department

1. Post Production Supervisor- Post-Production Supervisors are in charge of the post-production phase of the production process. During this time, they ensure that the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios, and negative cutters), and the production accountant have clear information and open lines of communication.
2. Post Production Coordinator- A post production coordinator oversees various aspects of the post production process, such as the editorial department's efficient operation, the production and delivery of final delivery elements, the scheduling and management of ADR sessions, and the department's administrative functions.

Post Production Sound Department

1. Sound Designer- Working closely with the director, the sound designer is in charge of the mood, tone, and overall soundscape, which includes dialogue, music, effects, mixing, and Foley.
2. Sound Editor- In order to create the final sound mix or master, the sound editor is in charge of choosing and compiling sound recordings.
3. Foley Artist- Creates and records the commonplace sounds heard in the movie, such as footfall or clothing rustling, using a variety of items and effects.
4. ADR Engineer- Automated dialogue replacement (ADR) is the practise of having the original actor (or a substitute actor) record conversation again after the filmmaking process in order to enhance audio quality or alter the initially scripted dialogue.

Music Department

1. Music Supervisor- The music supervisor chooses and obtains the rights to use pre-existing songs or recordings in the movie. typically serve as a point of contact between the business and creative sides of the process.
2. Composer- The score, which is made up of all the original music used in a movie, is written by the composer. The recording of the movie score is another duty of film composers.
3. Musicians- A group of musicians perform the composer's score.

Visual Effects Department

1. Visual EffectsSupervisor- The visual effects supervisor is in charge of using visual effects to further the director's or producers' creative intentions.
2. Visual Effects Artist- A visual effects artist creates or manipulates any on-screen imagery that doesn't actually exist in real life in order to create the visual effects that are used in the movie.
3. Motion Graphics Artist- Motion graphics artists design the moving text, logos, numbers, and phrases that appear on screen during a movie.

Editorial Department

1. Supervising Editor- collaborates closely with the director to carry out his or her vision. oversees the editorial team during the feature film's production.
2. Editor- collaborating closely with the supervising editor and the director they are in charge of transforming raw film footage from a shoot into a polished, well-rounded completed product.
3. Assistant editor- Helps the director and editor gather and arrange all the materials needed to edit the movie. They supervise the different lists and directions required to give the movie its final shape when editing is complete. Editors of high-budget feature films typically employ a group of assistants.
4. Colorist- The color palette of the movie is decided upon by the colorist in close collaboration with the director in order to convey a particular mood or visual aesthetic.

Publicity Department

1. Unit publicist- Intermediary between the outside world and the set is the unit publicist. They respond to inquiries from the media, viewers, neighbourhood associations, film commissions, and any other organisation with an interest in the movie.
2. Still Photographer- Film stills and other still photographs are specifically created by still photographers for use in production marketing.

Feeling relieved, now that you don't have to pretend you know things in and around a film unit? I guess now you would know who to run to or hold accountable for if the focus isnt right, or if the light is too harsh and the colour is not bright enough. A film production brings together a battalion of technical crew who work unanimously to bring an idea to life, to transform a written script to a visual treat.