03PRO – The Film Crew Hierarchy

• by garciaone
• in Principle Photography
• posted January 10, 2024

Introduction

The Crew Hierarchy and structure of a project can vary from projec to project, based on the needs of the show, sometimes the budget and also if its a Film, Episodic Project or a commercial.

Below is a simiplied overview of the main departments and and crew that you should be aware of. Certain crew will be more relevant to you depending on the stage of production and some you may not have to deal with at all. Its important to know who’s who as it will make your life much easier and you will know who to speak to when it may be needed.

In the above chart, the departments are represented with a coloured/solid background and key roles are shown with a white background.

The Line
You can see a dotted line, that runs just below the Director, this represents what is known as “The Line” and it stems from the film budget and how its organized.

Above The Line (ATL)
These invididuals play a key role in guiding the creative vision of the project and how the project will operate. They have the overarching creative control of the project. The individuals ATL, will vary from project to project. On a large budget film, will often find the Executives, Producer, Director and Writer(s). If any A-Lister actors are associated with the project, that will often also be ATL. The same goes with the Director of Phography, if they are a well established, they may also be ATL. It really depends on who is associated with the project.

Below The Line (BTL)
Below The Line are the skilled technicians and craftsmen that carry out the creative vision and direction of what has been established by the ATL inidividuals and most likely by the Directors guidance. The vast majority of the crew are considered BTL.

Departments and Roles

In order to help simplify the dozens of roles and departments that you may find on set, We’re going to break them down into sections that can help classify them. We’re going to go over the main ATL Individuals who are effectively the leaders and the BTL individuals that get the work done.

ATL Roles

Exuctive Producer (EP)

An Executive Producer (EP) on a film or episodic project primarily oversees its financial, administrative, and strategic aspects. Their role includes securing funding, managing the budget, and sometimes assembling the creative team, such as key cast and crew members. They work to ensure the project aligns with financial objectives, often collaborating with investors, studios, or other funding sources. While not directly involved in day-to-day creative decisions, an EP’s influence is crucial in guiding the project from conception through to distribution. Depending on the project’s structure, there may be multiple EPs, each contributing differently, whether through financial investment, creative input, or strategic management, to the project’s success.

Producer

A Producer on a film or episodic project is the driving force behind the scenes, responsible for managing all aspects of production from start to finish. They develop the project from an initial idea, secure financing, hire key personnel including directors and cast, and oversee the budget and schedule. Producers coordinate between the creative and logistical sides, ensuring the project stays on track and within budget. They solve problems that arise during production, post-production, and distribution phases. Ultimately, the Producer’s role is to ensure the final product meets the creative vision and is delivered on time and within financial constraints, making them critical to a project’s success.

Producers work closely with the executive producer (EP) to align the project’s vision and budget, taking a hands-on approach in production. They collaborate with line producers to set financial plans and communicate creative input to the director. Involved in all phases, producers manage both the creative and operational aspects.

Director

The director is the creative leader responsible for bringing the screenplay to life, controlling artistic and dramatic aspects of the film. They guide the cast and crew, making key decisions on performance, visual style, pacing, and mood. Directors work closely with department heads like cinematography, production design, and editing to ensure their vision is consistently executed across all elements of production. While they have significant control over the creative process, directors often report to producers, who manage the film’s budget and logistics. Producers ensure the director’s creative ambitions align with financial constraints and production schedules, facilitating a collaborative environment to achieve the film’s objectives.

Writer

A Writer in film or episodic projects develops the script, outlining the story, characters, and dialogue. Essential in the pre-production phase, they collaborate with directors and producers to refine the narrative, adapting to feedback through revisions. Writers shape the project’s emotional and thematic core, often continuing to adjust the script during production to align with evolving creative visions and practical considerations..

Principle Cast

The principle cast in a production consists of the main actors who play the lead roles, driving the story’s narrative and emotional core. These key performers are central to the project’s success, bringing characters to life through their interpretations, and often receive top billing due to their significant impact on the audience’s engagement.

This role may be Below The Line, if they are not a well known and established Actor.

Director of Photography

The Director of Photography (DP or DoP), also known as a cinematographer, is pivotal in crafting the visual essence of a film, governing the camera and lighting crew to shape each scene’s aesthetic. Tasked with executing the director’s visual vision, the DP selects lenses, filters, and compositions, orchestrating lighting and framing to create the desired atmosphere. While closely collaborating with the director to ensure the film’s visual narrative aligns with the overarching story, the DP also works intimately with the Gaffer to design the scene’s lighting, Camera Operators to determine shot framing, and the Digital Imaging Technician (DIT) to establish the digital look of the footage. This role is creatively influential, matching the director’s in terms of visual storytelling, contingent on the project’s dynamics and individual roles. The DP’s decisions on technical aspects like camera choice, frame rate, and aspect ratio are crucial in achieving the film’s visual identity, making them a central figure in the filmmaking process.

This person is arguably as creatively powerful as the Director but that depends on many things (like who the Director is). The DP is in charge of the look of the film. They are the person you will talk all things camera with. What camera are you shooting with, frame rate, aspect ratio etc. They work with the Gaffer to craft the lighting for the scene and the Camera Operators to frame the shot. They also work a lot with the Digital Imaging Technician (DIT) to set LUTs or looks for the images coming out of the camera.

This role may be Below The Line, if they are not a well known and established DOP.

BTL Departments

As mentioned, the BTL roles are the technicians and craftsmen that execute the plan that has been established by the ATL leaders. To help simplifiy the many roles and departments , We will categorize the departments into the following:

• General On-Set/ Production Management
  • General production management
  • On-Set management such as Assitant Directors.
• Photography
  • Camera and Lighting related
  • Image capture / playback
• Standard Departments:
  • These departments are almost always ultilized.
• Additional Departments
  • These departments depend on the production requirements.

General On-Set / Production Management

These departments all contribute to the overall management and operations of the production. They all effectively fall under the Producers wheelhouse of direct responsibility, however some departments such as Assitant Directors and Continuity will work closely with the Director during prinicple photography.

Line Producer (LP)
The Line Producer serves as a crucial liaison between the studio or producer and the production manager, tasked with managing the production budget. This role is central to the filmmaking process, embodying the concept of being “on the line” daily, ensuring all necessary resources are aligned and available. They are responsible for the financial aspects and often the day-to-day physical operations of the film production, overseeing logistics, scheduling, and the hiring of crew to guarantee the project remains within budget and on schedule. The Line Producer’s ability to navigate these responsibilities effectively makes them indispensable in turning creative concepts into executable, finished productions.

Production Manager (PM)
A Production Manager oversees the practical aspects of film or TV production, handling logistics, scheduling, budgeting, and equipment needs. They work closely with the Line Producer to ensure the project stays within financial limits and on schedule, coordinating between departments to facilitate smooth operations and address any production challenges.

Production Managers may be referred to as Unit Production Managers (UPM), when operating within a second or third unit.

Production Coordinator (PC)
A Production Coordinator supports the production management team by handling administrative tasks, coordinating schedules, managing communications, and overseeing logistics. They act as a hub for information, ensuring smooth operations across departments, assisting with paperwork, and helping to keep the production on track and within budget through meticulous organization and communication.

Production Assistant (PA)
A Production Assistant provides general support across all areas of a film or TV production, handling tasks ranging from administrative duties to on-set errands. They facilitate communication between departments, assist with logistics, and ensure the smooth operation of daily activities. PAs are essential for maintaining efficiency and supporting the production team’s needs.

1st Assistant Director
The 1st Assistant Director (1st AD) is integral to the film’s production, working closely with the production manager and director to maintain the daily shooting schedule and the overall production timeline. Their role is crucial in communicating instructions to department heads, ensuring each day on set progresses smoothly. The 1st AD manages the day-to-day logistics, including cast and crew scheduling, equipment, script, and set oversight, striving to keep filming on schedule. They create a focused and safe working environment for the director, principal artists, and crew. Additionally, the 1st AD may direct background action or minor shots, based on the director’s needs, further contributing to the efficient execution of the production plan. Their ultimate goal is the timely and effective completion of the film, balancing the creative vision with practical logistical management.

2nd Assistant Director
The Second Assistant Director (2nd AD) serves as the chief assistant to the 1st AD, taking on delegated tasks essential for the smooth operation of the set. Their responsibilities include directing background action and managing extras, assisting with scheduling and booking, and collaborating with the Production Coordinator to create and distribute daily call sheets. These call sheets inform the crew of the schedule and critical details for the shooting day. The 2nd AD also plays a vital role in logistical duties, ensuring that talent is on set when needed and overseeing the organization of the set to maintain an efficient workflow.

3rd Assistant Director / 2nd 2nd Assistant Director
The 3rd Assistant Director (3rd AD) assists in moving actors, organizing crowd scenes, and supervising production assistants, working closely with the 1st and 2nd ADs.

Photography(Camera/Lighting)

Photography includes all departments and roles invovled with capturing the footage. All things camera , lighting, video capture and playback.

Camera

Department Head: Director of Photography.
The camera department, led by the Director of Photography, handles all aspects of film photography, including camera operation, composition, and lighting, to visually tell the story and capture the director’s vision.

This department is heavily reliant on the sub-departments, Grip & Electric ( G&E) which take care of the camera rigging & electronics which includes the lighting.

Camera Operator
The Camera Operator, under the Director of Photography’s guidance, is responsible for operating the camera, framing shots, and executing camera movements. They play a crucial role in visual storytelling, capturing the essence of each scene according to the director’s creative vision.

Specialist camera operators may be employed such as Steadi-Cam Operators or Motion Control Camera Operators.

In some situations, the DOP and Camera Operator may be the same person.

1st Asssistant Camera (1st AC)
The First Assistant Camera (1st AC), or focus puller, is responsible for maintaining camera focus during shooting. They assist the camera operator by adjusting focus on lenses, managing camera equipment, and ensuring image sharpness, playing a key role in achieving high-quality visual outcomes.

2nd Assistant Camera (2nd AC)
The Second Assistant Camera (2nd AC), or clapper loader, supports the camera department by managing equipment, loading film or memory cards, maintaining logs, and marking actors’ positions. They also assist in setting up shots, contributing to the efficiency and organization of the camera team.

Loader
The Loader is responsible for managing film stock, loading and unloading camera magazines, ensuring the safe handling and transport of exposed film to the lab, and maintaining detailed records of the footage shot. Their precision is crucial for preserving the integrity of the film material.

This role is only needed when shooting on film, On small production crews, this job is often combined with the 2nd AC and when shooting on digital, this role is managed by the DIT or a Data Wrangler.

Camera Production Assistant (Camera PA)
The Camera Production Assistant (Camera PA) supports the camera department by handling ancillary tasks, such as transporting gear, setting up equipment, and assisting with shot preparation.

Grip

Department Head: Key Grip
The Grip Department, led by the Key Grip, is responsible for rigging the equipment that supports cameras, including dollies, cranes, and tracks. Grips, as trained lighting and rigging technicians, play a crucial role in film production by collaborating closely with the electrical department to install non-electrical components of lighting setups, like flags, overheads, and bounces. They are responsible for adjusting major set pieces on the sound stage to facilitate camera positioning, lifting heavy objects, and setting rigging points for lights. Reporting to the Key Grip, their work is essential in creating the desired visual effect for each shot.

Summery: Camera rigging / general rigging and non-electrical lighting and equipment.

Key Grip
The Key Grip leads the grip department, coordinating with the Director of Photography to craft the visual setup of a scene. They manage equipment for camera stability, lighting control, and set rigging, ensuring optimal shot composition and lighting. Essential for on-set problem-solving, the Key Grip is pivotal in executing the film’s visual strategy.

The Key Grip is not only pivotal in ensuring the camera position and movement on set from a practical standpoint. They are vital for ensuring the creative vision of the lighting is being executed and will work closesly with the Gaffer to ensure the DOPs vision is executed.

Best Boy (Grip)
The Best Boy Grip is the Key Grip’s primary assistant, responsible for managing grip equipment, crew scheduling, and on-set logistics, ensuring the smooth operation of the grip department during film and television production.

Grip
A Grip is responsible for setting up and maintaining camera support systems, lighting equipment(non-electrical), and rigging on set.

Electrics

Department Head: Gaffer
The Electrics Department, led by the Gaffer, is responsible for designing, setting up, and managing all aspects of lighting on set. They work closely with the Director of Photography to create the desired mood and look for each scene through meticulous lighting arrangements.

Gaffer (Cheif Lighting Technician)
The Gaffer, or Chief Lighting Technician, works in close collaboration with the Director of Photography (DP) and the Key Grip to design and execute the lighting plan for a production. Leading the Electrics Department, the Gaffer is responsible for setting up and controlling lighting equipment to achieve the desired visual effect, while coordinating with the Key Grip to manage the physical lighting setup and ensure that the lighting complements the camera work. This partnership is essential in creating the mood, atmosphere, and overall visual style of the scene, aligning with the director’s vision.

Best Boy (Electric)
The Best Boy Electric is the Gaffer’s main assistant, responsible for managing the electrical crew, organizing lighting equipment, and coordinating logistics to ensure efficient operation of the lighting department on film and television sets.

Electrical Lighting Technician
The Electrical Lighting Technician, under the Gaffer’s direction, installs, operates, and maintains lighting equipment, executing the lighting plan to create the desired atmosphere and visual effects on film and television productions.

Generator Operator
The Generator Operator manages power supply, operating generators to ensure consistent electrical support for lighting and equipment on set.

Image Capture / Playback

Department Head: Director of Photography.
This only relevant to digital shoots, where image capture and playback is handled differently from a shoot on film stock.

Digital Image Technician
The Digital Imaging Technician (DIT) plays a crucial role on set by managing digital footage, ensuring the integrity of image quality and consistency across takes. They work closely with the Director of Photography to apply color grading, monitor exposure, and manage data workflow from camera to post-production. The DIT ensures that all digital media is correctly captured, stored, and ready for editing.

Video Assist Operator
The Video Assist operator is responsible for managing the video playback system on set, allowing the director, cinematographer, and other crew members to instantly review what the camera has captured. This role involves recording and playing back takes, ensuring the footage meets the creative team’s needs for performance, framing, and continuity. The Video Assist operator plays a key role in facilitating immediate feedback and decision-making during the filming process.

Standard Departments

These departments are what will normally be found on the majority of film productions, they tend to be required as a minimum.

Art

The Art Department, led by the Production Designer, is responsible for creating the visual world of a film or TV show. This team designs, constructs, and decorates sets, ensuring every location and prop aligns with the story’s aesthetic and period. They work closely with the director to bring the script’s visual elements to life, crafting immersive environments that enhance the narrative and character development.

The Art department can easily be the largest on-set and the sub-departments and roles that come under it can vary largely depending on the show requirements.

Production Designer(Head of Dept)
Reports to: Director

The Production Designer is a key creative role in film and television production, responsible for the overall visual concept of a project. They lead the Art Department in creating the settings and style that visually tell the story, from the design and construction of sets to the selection of locations, colors, textures, and props. Working closely with the director and cinematographer, the Production Designer ensures that every visual element supports the narrative and mood, creating a cohesive and immersive world. Their vision shapes the environment in which the characters live and interact, significantly influencing the film’s aesthetic appeal and audience engagement.

Production Designers tend to be invovled in everything other than Characters, although this can change from production to production.

Art Director
The Art Director works under the Production Designer, focusing on the practical execution of the visual concept for a film or TV show. While the Production Designer develops the overall visual strategy and aesthetic vision, the Art Director manages the day-to-day operations, overseeing set construction, decoration, and the art department’s budget and schedule. This role involves translating the Production Designer’s vision into tangible sets and environments, ensuring every detail aligns with the project’s narrative and aesthetic goals, distinguishing their operational focus from the broader creative responsibilities of the Production Designer.

Sets

The Sets Department, under the Art Department, constructs and dresses sets to reflect the script and Production Designer’s vision. This team, including Set Designers and Decorators, builds environments and adds decorative elements, ensuring authenticity and enhancing the narrative. Their detailed work creates immersive worlds that visually support the story’s time period and mood.

Set Designer
The Set Designer conceptualizes and designs the physical environment for film and TV productions, creating detailed plans for sets that align with the narrative and aesthetic vision of the Production Designer. The Set Designer will work closely with the construction team in ensuring the sets are built to meet the productions needs.

Set Decorator
The Set Decorator selects and arranges furniture, drapery, and accessories, enhancing the authenticity and mood of a set, working closely with the Production Designer to realize the visual concept.

Greensman (greenspeople)
The Greensman designs and arranges plant elements on sets, creating natural landscapes or adding greenery to scenes, ensuring authenticity and enhancing the visual storytelling under the direction of the Production Designer.

Property (Props)

The Property Department, integral to the Art Department, is responsible for sourcing, creating, and managing all props used in production. Led by the Prop Master, this team ensures that every item—from handheld gadgets to background décor—accurately reflects the script’s period and story, enhancing the authenticity and depth of the narrative.

Propsmaster
The Prop Master oversees the Property Sub-Department, sourcing, managing, and maintaining all props, ensuring they align with the story and production design, and are used consistently and safely on set.

Props Builder
A Prop Builder crafts and modifies props to specifications, ensuring they visually fit the narrative and function as required on set.

Armourer
The Armourer manages and maintains weapons on set, ensuring their safe use and authenticity in alignment with the production’s historical and narrative needs. This role may also be called a Weapons Master.

Construction

The Construction Department is crucial in film and television production, tasked with building the physical structures of sets as designed by the Production Designer and Art Director. This team of skilled carpenters, painters, and artisans transforms conceptual drawings into tangible environments, from detailed interiors to expansive outdoor settings. They work closely with the art department to ensure each set meets the visual and functional requirements of the script, creating immersive worlds that support the storytelling and visual narrative of the project. Their work encompasses a broad range of construction techniques and materials, tailored to the specific needs of each production.

Construction Coordinator
The Construction Coordinator oversees the Construction Department, managing budgets, scheduling, and the crew to ensure set designs are built accurately, on time, and within budget, aligning with the production’s artistic vision.

Hair & Makeup (HMU)

The Hair and Makeup Department specializes in designing and applying hairstyles and makeup to actors, ensuring they match the characters’ traits, story period, and scene requirements. This team plays a crucial role in character transformation and maintaining continuity across filming. They collaborate closely with directors, actors, and the production design team to enhance the authenticity and emotional impact of each character, contributing significantly to the visual storytelling of the film or television production.

Depending on the production, This department may report directly to the Director, on occasion the Production Designer may oversee this department, but it is less common for Production Designers to be invovled in Characters

Key Hair Stylist (Head of dept)
Reports to: Director (Occasionally Production Designer)
The Key Hair Stylist leads the hair department, designing and executing hairstyles that align with characters’ personalities and the production’s setting, ensuring continuity and contributing to the visual storytelling of the project.

Key Makup Artist(Head of dept)
Reports to: Director (Occasionally Production Designer)
The Key Makeup Artist oversees the makeup department, creating looks that enhance character portrayal, ensuring continuity, and aligning with the narrative’s era and style, vital for the project’s visual storytelling.

SFX Makeup Artist
Reports to: Director (Occasionally Production Designer)
The Special Effects Makeup Artist specializes in creating prosthetics and makeup effects that transform actors into characters requiring physical alterations, such as aging, injuries, or fantastical creatures. Their work is crucial for realism or fantasy in storytelling, requiring detailed knowledge of materials and anatomy to achieve convincing, visually impactful results.

Costume Designer(Head of dept)
Reports to: Director (Occasionally Production Designer)
The Costume Designer conceptualizes and creates outfits that reflect characters’ personalities, story settings, and historical periods, collaborating closely with directors to enhance narrative through visual costume storytelling.

Wardrobe Supervisor
The Wardrobe Supervisor manages the costume inventory, oversees fittings, and ensures costume maintenance, working under the Costume Designer to maintain continuity and manage the wardrobe department’s daily operations.

Set Costumer: The Set Costumer manages costumes on set, ensuring actors are correctly dressed, handling changes, and maintaining continuity between scenes, supporting the Wardrobe Department’s seamless operation during filming.

Stunts

The Stunt Department orchestrates and performs physical feats that require special skills, ensuring actors’ safety during dangerous scenes. Led by the Stunt Coordinator, this team plans and executes actions like fights, falls, and vehicle chases, collaborating closely with directors and safety personnel to bring thrilling, yet secure, sequences to life on screen.

Stunt Coordinator: Oversees the stunt department, planning and coordinating all stunt sequences to ensure safety and realism, collaborating with directors to achieve the desired visual effect.

Reports to the Director.

Stunt Choreographer: Designs and arranges complex stunt sequences, focusing on fight choreography and physical interactions to enhance storytelling and character dynamics.

Stunt Performer: Executes high-risk physical actions, including fights, falls, and vehicle stunts, trained to perform safely under controlled conditions to bring thrilling scenes to life. A Stunt Double is a stunt performer that is intended to look like another actor.

Stunt Rigger: Specializes in preparing and managing safety equipment and rigging systems for stunts, ensuring performers can execute their moves safely and effectively.

Special Effects (SFX)

The Special Effects (SFX) Department creates physical effects on set, such as explosions, weather phenomena, and mechanical props, to enhance the film’s realism without digital post-production. Led by the SFX Supervisor, this team combines technical expertise and creativity to safely execute effects that contribute significantly to the visual storytelling and atmosphere.

SFX Supervisor: Oversees the Special Effects Department, planning and executing practical effects, coordinating with directors and cinematographers to achieve desired on-screen impacts while ensuring safety.

Reports to the Director.

SFX Technician: Assists in creating and implementing practical effects, operating equipment and applying techniques to safely produce desired visual elements on set.

Pyrotechnician: Specializes in designing and executing controlled explosions and fire effects, ensuring safety and accuracy in creating dramatic visual sequences for production.

VFX

The Visual Effects (VFX) Department is responsible for creating digital effects that enhance or alter the film’s visual elements, which cannot be achieved through practical effects alone. This team, led by the VFX Supervisor, uses computer-generated imagery (CGI) to create realistic environments, characters, or objects. They work closely with directors and cinematographers to integrate these effects seamlessly into live-action footage, playing a crucial role in modern filmmaking by expanding the possibilities for storytelling and visual creativity. Their work encompasses everything from simple enhancements to creating entirely digital worlds, crucial for achieving the director’s vision.

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1st Assistant Director (AD):

     Without question the most important person on-set you will need to foster good communication with is the 1st AD. This man or woman runs the set. They are responsible for the day’s schedule amongst other things. Before filming, a complete list of VFX reference should be discussed with the 1st AD so they know what and how long your reference gathering will take. It?s very possible that the 1st AD will push back and/or question some of the reference gathering and the time you?ve requested. You should always stand your ground but be flexible and understand that this person?s number one job is making the day go to schedule so that the crew doesn?t go into overtime.

Script Supervisor :

This person is usually located right next to the Director. They are in charge of taking notes on what has been shot and maintaining continuity The ?Scripty? also provides scene and shot numbers to the camera department. VFX data wranglers/Supervisors rely on the script supervisor to provide crucial information for data tracking in post for every shot.

1st Assistant Camera (AC) :
Pulling focus, or keeping the shot in focus is this person’s number one job. They have other camera responsibilities but focus is the most important. At times you will want to discuss with the camera crew and the Director where focus should be in a shot. This is specially true when shooting creatures that have to be put in later. Focus is a critical thing to keep an eye on when shooting VFX plates.

Working with the Camera department you may do things like tiling backgrounds, shooting reference, determining tilt, etc. Anything that has to do with the composition of the shot and what the lens sees.

Digital Imaging Technician (DIT) :

The DIT manages drives and data from the camera amongst many other things. This person also works with the DP to set the look of the images and has been described as the digital extension of the DP – see the recommended article for more insight.

Video Assist :

 Video assist provides replay to the monitors. Their job is specific to the need for feedback by the Director, DP, VFX Sup etc on reviewing takes. Video Assist will bring up takes to compare and analyze the shots after cut.

Gaffer :

 The Gaffer crafts the light per instruction from the DP. This person designs and determines what lights, gels, blockers, effects etc are needed for a shot.

Key Grip :

The Key Grip is in charge of the grips. This is a good person to make a relationship with as you will be asking this person’s department for a lot. If you want a green screen moved or you need a C Stand for something, it?s the grip department that is going to help you.

Grip : Workhorses of the set, Grips are responsible for rigging and the set up of lights.Grips lay down dolly tracks, rig lights, flag lights, put up blockers, move camera equipment, and push dollies (dolly grip) for camera moves.

Grips are people you will invariably have to ask to help you move some gear, provide a tool or a flag or a sandbag so be nice to the Grips.

It?s not unheard of to drop a few beers off with them after they?ve worked all day on set to help you get your shot reference.

Special Effects :

 The Special Effects team is in charge of effects that will be captured in camera.

  They are the ones that get to blow stuff up amongst many other more subtle effects done on set.

     It?s good to work well with the special effects team and let them have their time to shine on set. As everything can be done digitally, is that always best? The answer is an emphatic NO. Try to get as much in camera as you can and in doing so, work with the Special Effects crew to realize it.

     There is also a good chance that little dust hit wasn?t budgeted for by your producer as an FX simulation so get it in camera.

Stunt Coordinator :

     This person is in charge of stunts, stunt men and women.

     You may work closely with the Stunt Coordinator in regards to how the characters will look in the shot at the end of the day.

     Working with them, you may advise them on things like wire work. How are those pick points going to look through the clothes when the actor is hoisted into the air? Where will a shot go from being a stunt person to a digital double? Is the action correct for timing and composition for the shot?

     The Stunt Coordinator will direct their team on refining the stunts and choreography for the shot.

     They will also let you know when something is not safe or just won?t work for their stunt performers.