Narrative Production Crew Roles & Responsibilities

Producing

Sep 4

This team focuses on the script, the performances, and the clock.

Executive Producer (EP): Often the "money" or the person who secured the intellectual property (the script). In student films, this is usually the Professor or the University, as they provide the equipment and the funding.
Producer: The primary manager of the project from "script to screen."

Pre-Production: Options the script, hires the Director and Heads of Departments (HODs), and oversees the budget.
Production: Acts as the bridge between the set and the financiers. They troubleshoot major "disasters" (e.g., a location falls through, an actor gets sick).
Post-Production: Oversees the edit, marketing, and distribution.

Director: Interprets the script and directs the actors' performances. Unlike a doc director who "finds" the story, the narrative director creates the story.
Assistant Director (1st AD): This person doesn't assist the director with "art"; they manage the set. They run the schedule, yell "Quiet on set," and ensure the production doesn't go over budget/time.
Line Producer: The "Numbers Person." They are on the ground every day, managing the literal "lines" on the budget spreadsheet. They handle the payroll, equipment rentals, and insurance. If the Director wants an extra camera, the Line Producer is the one who says "yes" or "no."
Unit Production Manager (UPM): Often works closely with the Line Producer. They focus on the physical logistics: transportation, housing for the crew, and ensuring everyone gets fed (Craft Services).
Production Coordinator: The "Office Hero." They manage the paperwork: call sheets, script revisions, travel arrangements, and "Sides" (small printed pages of the script for the day's shoot).
Script Supervisor: Ensures "continuity." If an actor holds a glass in their left hand in the first shot, the Script Supervisor ensures they don't hold it in their right hand in the next.

In narrative, the camera team is much larger to ensure every shot is technically perfect across multiple takes.

Director of Photography (DP): Works with the Director to create the visual "language." They rarely touch the camera themselves on big sets, instead directing the operators and lighting.
1st Assistant Camera (1st AC / Focus Puller): Their sole job is keeping the image in focus. In narrative, where actors move on specific "marks," this is a high-pressure role.
2nd Assistant Camera (2nd AC / Clapper Loader): Operates the slate (the "clapperboard") and keeps the camera logs.

This is the most significant difference from documentary work. In narrative, you don't use the light that's there—you build the light you want.

Gaffer: The head electrician. They execute the DP’s lighting plan.
Key Grip: The head of the "Grip" team. Grips handle non-electrical equipment: C-stands, flags (to block light), and the rigging for dollies or cranes.
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Best Boy (Electric/Grip): The second-in-command for either the Gaffer or Key Grip, focusing on gear management and "man-power."

This department usually doesn't exist in documentaries (where you film "as-is"). In narrative, it is often the largest department.

Production Designer: Responsible for the entire physical "look" of the film (sets, colors, textures).
Art Director: Manages the logistics of building the sets and overseeing the crew.
Prop Master: In charge of any object an actor touches (phones, weapons, food).
Set Dresser: Focuses on the background items that make a room look "lived in" but aren't touched by actors.

Costume Designer: Designs and sources the clothing to reflect the character's journey.
Key Makeup/Hair: Ensures actors look consistent from take to take and handles "special effects" makeup (bruises, prosthetics) if required.

If your students are working with a limited crew, they should prioritize these roles:

Call Sheet Template