I received a number of questions from members related to the data behind crews of US productions. A rundown of the number of people involved with productions…………


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logo for International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada I received a number of questions from members related to the data behind crews of US film productions. A rundown of the number of people involved with productions, IATSE (The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada ) created in 1893, has a slightly complicated set-up involving many different job roles, membership criteria and a network of many local chapters. Below is the 125th Anniversary IATSE movie. 

However, I can help by giving a rundown of the number of people involved with productions more generally, how it’s differed over time and by the size of production, and which are the largest departments. To do this I have accessed a dataset of all theatrically released live-action movies released in the US between 2000 and 2019 and studied the number of crew credits.

How many people work on a film?

 Between 2000 and 2019, the average film released in North American cinemas employed 276 people in crew roles.  This covers development, pre-production, shooting and post-production. Accordingly Fox has begun, with theatrical release of “Taken 2”, Taken 2 : Liam Neeson, Maggie Grace, Famke Janssen, Leland Orser, Jon Gries, Olivier Megaton: Movies & TV - Amazon.complacing end cards on its movies with the message: “The making and legal distribution of this film supported over 15,000 American jobs and involved over 600,000 work hours.” The implication is clear: illegal distribution through video piracy puts those jobs at risk.

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Over the past decades, the number of crew members on a film has increased by 51%, from 185 in 2000 to 335 in 2019.  However, this change has not been uniform.  Perhaps the starkest change has been in the different trends between Special Effects jobs (i.e. physical effects such as rain, wind, and explosions) and Visual Effects jobs (computer-based effects).


Above-the-line” refers to the list of individuals who guide and influence the creative direction, process, and voice of a given narrative in a film and related expenditures. These roles include but are not limited to the  screenwriter, producer, director, and actors.

The “line” in “below-the-line” refers to the separation of production costs between script and story writers, producers, directors, actors, and casting (“above the-line”) and the rest of the crew, or production team.

Below-the-line crew refers to everybody else including:

  • Assistant director
  • Art director
  • Best boy electric and grip
  • Boom operator
  • Camera operator
  • Carpenter (theatre)
  • Character generator (CG) operator (television)
  • Director of photography
  • Costume designer
  • Composer
  • Dolly grip
  • Film editor
  • Gaffer
  • Graphic artist
  • Hair stylist
  • Key grip
  • Line producer
  • Location manager
  • Make-up artist
  • Production assistant
  • Production coordinator
  • Script supervisor (continuity)
  • Set construction
  • Set Medic
  • Sound engineer
  • Stage manager (television)
  • Technical director (TD) (television)
  • Truck driver
  • Video control broadcast engineering (television)
  • Visual effects editor

Most of these crafts people are considered variable cost in the budget. Meaning, if you cut a scene from the script, potentially, you don’t have to build that set, or paint it or dress it, etc.


Film production consists of five major stages:

  • Development: Ideas for the film are created, rights to existing intellectual properties are purchased, etc., and the screenplay is written. Financing for the project is sought and obtained. This sometimes takes years.
  • Pre-production: Arrangements and preparations are made for the shoot, such as hiring cast and film crew, selecting locations and constructing sets.
  • Production: The raw footage and other elements of the film are recorded during the film shoot, including principal photography.
  • Post-production: The images, sound, and visual effects of the recorded film are edited and combined into a finished product.
  • Distribution: The completed film is distributed, marketed, and screened in cinemas and/or released to other avenues to be viewed.


 The development stage is the first step in film production. This phase of the production process includes fleshing out the story idea, writing a draft of the script, and figuring out the financial logistics of the project. Depending on the type of film you’re making and who you can get involved, development can last anywhere from a few months to a few years.

Each film studio has a yearly retreat where their top creative executives meet and interact on a variety of areas and topics they wish to explore through collaborations with producers and screenwriters, and then ultimately, directors, actors, and actresses. They choose trending topics from the media and real life, as well as many other sources, to determine their yearly agenda. 

Once the producer and writer have sold their approach to the desired subject matter, they begin to work. However, many writers and producers usually pass before a particular concept is realized in a way that is awarded a green light to production.

Production of “The Unforgiven“, which earned Oscars for its Director/Star Clint Eastwood, as well as its screenwriter, David Webb Peoples, required fifteen years. Wayne Powers related that “The Italian Job” took approximately eight years from concept to screen, which, as Powers added, “is average.” And most concepts turned into paid screenplays wind up gathering dust on some executive’s shelf, never to see production.

Once a screenplay is “green-lit” directors and actors are attached and the film proceeds into the pre-production stage. 

Pre-production is the stage of a film, television or commercial production that takes place before filming begins.  When you get the green light to start the pre-production stage, you’ll establish a production company and set up a production office. 

This is where the planning of your film shoot will take place.

Pre-production involves finalizing the shooting script, finding shoot locations, and figuring out the production budget.

You’ll establish your shooting schedule, as well as all the equipment and gear you’ll need before setting foot on your film set, and the casting director will start auditioning actors for the director’s approval.

This is also the stage where you’ll acquire key film crew members for your production team, like the director of photography, assistant directors, unit production managers, and costume designers.

Once all the pieces are in place, creative planning begins, lets start filming.

Pre Production Crew

The cinematographer or director of photography (sometimes shortened to DP or DOP) is the person responsible for the photographing or recording of a film, television production, music video or other live action piece. The cinematographer is the chief of the camera and light crews working on such projects and would normally be responsible for making artistic and technical decisions related to the image and for selecting the camera, film stock, lenses, filters, etc.

In the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator emerged. With the advent of artificial lighting and faster (more light-sensitive) film stocks, in addition to technological advancements in optics, the technical aspects of cinematography necessitated a specialist in that area.

Cinematography was key during the silent movie era; with no sound apart from background music and no dialogue, the films depended on lighting, acting, and set.

The American Society of Cinematographers (ASC) was formed in 1919 in Hollywood, and was the first trade society of cinematographers. Similar societies were formed in other countries. Their aims include the recognition of the cinematographer’s contribution to the art and science of motion picture making.

A story editor is a step above a staff writer and it is also the first position that can be attained that allows for your work to be credited as a writer.

The story editor supervises the work of the story analysts for the studios. The analysts check out various screenplays, books, and more literary pieces looking for something that will work well for a movie. They will write a synopsis of the option they choose while the editor will review it and then pass it on to the “higher-ups” for possible development into a motion picture. The story editors consist of numerous understudies trying to get noticed in the field. 

To be a story editor a certain skill set is obviously required for the role.

Firstly, story editors must have good grammar and language skills.

  • This is an important skill to have as an editor because they must be able to pick out any errors that make a script look anything other than perfect.
  • The story editor is the filter and that filter must be tight enough to not let any errors slip through.

Since story editors oversee a staff of writers, having good communication skills both verbal and written are essential.

  • They must be able to talk to writers on staff, manage a group of people and make sure what needs to get done gets done.
  • Story editors must also make sure that the elements the writers need to fix or improve on are told to them appropriately and clearly.

There needs to be thorough attention to detail as well. When working on a TV show story editors must know the ins and outs of the show. Slip-ups can cause errors in continuity and plot holes that can cause problems for a series.

Having experience is essential and will help you command respect both before and within the job.

  • Lots of story editors may have a bachelor’s degree in some field related to writing and editing, but not all do.
  • Experience as a script reader or in development can help demonstrate that you have experience reading and critiquing scripts extensively.
  • You need to know the details of how screenplays work instinctively.
  • If screenwriting is a language then you need to be fluent in it. And what better way to learn a language than immersing yourself in it by reading and responding to script after script.

The term “Written By” that you see in the credits is a Writers Guild of America designation meaning “Original Story and Screenplay By.” The Writer will create and shape a story of their own, adapt a book into a screenplay, or work with a play to be used for the big screen. Scripts often go through many writers’ hands, which results in the Writer’s Guild of America determining who receives screen credit as the Writer. 

In Hollywood, screenwriting credits are strictly regulated by the Writers Guild of America (WGA).  Only three parties are allowed to be credited as the writer (with a ‘party’ being either a single writer or writing teams of either two or three writers).  This means an absolute maximum of nine (9) writers per movie, in the unlikely event of three three-person teams working on the film.

The location manager will read the script to understand the type of locations needed for the film. They will also be the one that scouts for them. The location manager will visit different locations and take shots of them to later touch base with the director on the best setting for the film. Once locations are determined, the location manager also stays on top of the permits and permissions necessary for filming. 

The Location Manager may have several assistants .

Many aspiring location managers start as production assistants and location scouts to gain experience and build a network. You must have general knowledge of the production and film industry, as well as familiarity with lighting and framing and a good eye for scenes.

A dialect coach is an acting coach who helps an actor design the voice and speech of a character in the context of an on-camera (film, television or commercial), stage (theatre, musical theatre, opera, etc.), radio or animation voiceover production.

Those looking to become dialect coaches should enroll in workshops and courses that focus on the study and teaching of dialects, be attentive to the way people talk around them, sign up for private coaching with a professional dialect coach, or be in rehearsal rooms for shows that involve dialects.

Qualified dialect coaches come to their careers from many different backgrounds. Some enter the profession via a linguistics education, while others arrive via an actor training program.

Set design is essential in producing a good movie. The set is what immerses the audience within the setting of the story. It creates the illusion of watching a real event and helps portray important aspects within the narrative. At the centre of every good movie is an excellent designer. This high-pressure, but rewarding role can seem like a great occupation for any movie fan with a passion for design. 

The set designer will work with the art director on what the vision of the set is and then will go about designing and constructing it.

FYI; There are over 61,440 Production Designers currently employed in the United States.

The art director (also known as the production designer) is responsible for designing and supervising the creation of the movie sets. They have to be skilled in various design styles, as well as have an artistic vision, and know about architecture and interior design. They’ll work with the cinematographer to accomplish a great result for production.

An art director reports to the production designer

During pre-production, the art director acts as a liaison between the production designer and the construction crew.

Costume designers design, create and hire the costumes for the cast. They start by working with directors, producers, writers, the production designer and hair and makeup designer to contribute to the look and storytelling of the production.

The costume designer will design the costumes needed for the cast. They create the final look of the characters and make sure that they use the styles worn during the era that the story refers to. Costume designers are key to the interpretation of the film’s characters.

In production, the film is created and shot. In this phase, it is key to keep planning ahead of the daily shoot. The primary aim is to stick to the budget and schedule, this requires constant vigilance. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities needed during the production of a film. Communication is key between the location, set, office, production company, distributors and all other parties involved.

Production Crew

In the cinema of the United States, a unit production manager (UPM) is the Directors Guild of America–approved title for the top below-the-line staff position, responsible for the administration of a feature film or television production. Non-DGA productions might call it the production manager or production supervisor. They work closely with the line producer. Sometimes the line producer is the UPM. A senior producer may assign a UPM more than one production at a time.

The UPM, under the supervision of the employer, is required to coordinate, facilitate and oversee the preparation of the production unit or units assigned to him or her, all off-set logistics, day-to-day production decisions, locations, budget schedules and personnel. Without limitation, among the duties which the Employer must assign to the UPM or First Assistant are the supervision of or participation in the following:

  • Prepare breakdown and preliminary shooting schedule.
  • Prepare or coordinate the budget.
  • Oversee preliminary search and survey of all locations and the completion of business arrangements for the same.
  • Assist in the preparation of the production to ensure continuing efficiency.
  • Supervise completion of the Production Report for each day’s work, showing work covered and the status of the production, and arrange for the distribution of that report in line with the company’s requirement.
  • Coordinate arrangements for the transportation and housing of cast, crew and staff.
  • Oversee the securing of releases and negotiate for locations and personnel.
  • Maintain a liaison with local authorities regarding locations and the operation of the company.
  • Setup the production office and systems in coordination with the Production Office Coordinator
  • Work with various unions (DGA, SAG, WGA, IATSE and TEAMSTERS) to submit and finalize contracts.
  • Handle ATL (Above the Line) issues ie.. (Cast person wanting a larger trailer)
  • Work with Accounting team to make sure that the film is setup in a way that is eligible for tax credits or rebates (if in a certain state/region that allows this)

The line producer is the liaison between the studio or producer and the production manager, responsible for managing the production budget. The title is associated with the idea that they are the person who is “on the line” on a day-to-day basis, and responsible for lining up the resources needed.

The line producer functions like a chief operations officer in running the production company. During pre-production, responsibilities include supervising the assembly of the shooting company, recruitment of key personnel and services, and production organization for how to shoot the script and transform it into a movie. The line producer plans start dates for everyone and everything, and monitors the budget in the lead up to picture. Film production generally follows a rigorous schedule.

The line producer facilitates;

  • casting,
  • location scouting,
  • set building and decorating,
  • offices and stages,
  • wardrobe,
  • props,
  • stunts,
  • physical and visual effects,
  • camera,
  • lighting,
  • rigging,
  • transportation,
  • cast, crew and union relations,
  • travel,
  • cast and crew accommodation,
  • contracting of legal permissions and agreements, safety and risk management, prep and shooting schedule.

In short, the line producer oversees the joint planning, negotiations, implementation and accounting for production.

In the studio system, the line producer reports to the studio and typically liaises with key executives of production divisions inside the studio such as physical production, legal, labor relations, insurance, and finance.

While in production, the line producer oversees the execution of many decisions that must be made to deliver each day’s shoot. The administrative aspects, especially those that have any financial impact, are all crucial areas of the line producer’s work. These areas include but are not limited to negotiating compensation (usually during pre-production) of crew members (both for union and non-union productions) and resolving daily production issues (in conjunction with the first assistant director and possibly the unit production manager). Moreover, they provide demanded equipment. If required, they handle unanticipated scheduling changes and serve “as a liaison between the crew and the producer.”

A director is the person who directs the making of a film. The director most often has the highest authority on a film set. Generally, a director controls a film’s artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of that vision.

The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking.

Under European Union law, the director is viewed as the author of the film.

The director gives direction to the cast and crew, and creates an overall vision through which a film eventually becomes realized or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film’s budget.

Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.

There are many pathways to becoming a film director. Some directors started as screenwriters, cinematographers, film editors, or actors. Other directors have attended a film school.

The assistant director (A.D., or First A.D. in larger productions) is there to make the whole process more effective.

The A.D. helps prepare for shooting by separating the script into sections that can be shot in a single day.

During filming, the A.D. helps to act as a sort of manager for the project. They help to line up the best shots and keep things quiet during filming, as well as handle the background actors that the film may call for.

The assistant director tends to be a part of the Directors’ Guild of America.

The second assistant director (2nd A.D.) works between the production manager and the first assistant director.

The second A.D. handles things like call sheets, paperwork, scheduling, and actors’ timesheets and production reports.

This person also helps the First A.D. with crowd control and background actors.

Sometimes other assistant directors are needed such as in Canadian and British functional structures the 3rd assistant director (3rd AD) and even trainee assistant directors (trainee AD). In the American system there are 2nd 2nd assistant director (2nd 2nd AD). 

The second unit director heads the second unit — this is another crew in production that is used to shoot scenes or sequences that don’t require the main actors. From shots at unique locations to special effects or scenes that don’t make a world of difference to the plot, the second unit director will make sure they’re done right.  

The script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props, blocking, and other details to ensure continuity between shots and scenes.

An important part of a script supervisor’s job is to make sure that the actors’ movements, the directions they are looking in a shot, particularly when speaking to or responding to another actor, plus the positions of props they are using and every thing else matches from shot to shot. If there is an apparent mismatch, the director must be informed immediately so that it can be reshot before the lighting setup is changed or at least before the location is wrapped and the set is struck.

Not only does the job of script supervisor require a great deal of awareness and meticulous note-taking skills, it also requires much diplomacy to advise the director that they may have a problem editing something just recorded.

The script supervisor is also in charge of providing the “official” scene numbers and take numbers to the second camera assistant (clapper loader in some countries) for the slate, as well as to the sound mixer, and to clearly note which take the director has chosen to be used (as a “print,” in film terms) in the finished product. All of this information is then relayed to the editor every day after shooting has wrapped in the form of copies made of both the script supervisor’s notes as well as their matching script pages.

The cinematographer, or director of photography (D.P./D.O.P.), helps with the feel and look of the film. The D.P. takes care of the lighting for every scene, helps to frame shots, picks the lenses, selects film stock, and makes sure that the final look is in line with the director’s artistic perspective.

Typically, the director tells the DP how they want a shot to look, and the DP chooses the correct lens, filter, lighting and composition to achieve the desired aesthetic effect. The DP is the senior creative crew member after the director.

The term cinematographer is usually synonymous with director of photography, though some professionals insist this only applies when the director of photography and camera operator are the same person.

The gaffer is the top electrician on a set and takes care of the lighting according to what the cinematographer needs.

The camera operator is a part of the actual camera crew and uses the camera as requested by the director and cinematographer. The camera operator gets the action in frame and responds to the action as it progresses.

Typically, there will be a first and second assistant cameraman. The first assistant cameraman stays on top of camera maintenance. He or she changes lenses, maintains focus during filming, spots where the actors should stand, and measures the distance between camera and subject. They also fill out reports and take care of loading and unloading of the camera magazines with film.

The film loader also helps with loading and unloading the camera’s film magazines. The film loader will also be responsible for the room where they’re kept to ensure quality and a clean environment.

A Steadicam is a frame that helps the Steadicam operator to hold the camera steady. It allows them to capture the action without shaky motion (typically what you’d see in a cheap film using hand-held cameras). They need top training and also need to be strong and energetic.

The production sound mixer (or recordist) captures sound during the shooting process. They’ll make sure to mix the soundtracks to the film’s composite soundtrack, which is then included in the film with magnetic or optical stripe.

The boom operator is a sound crew member who handles the microphone boom, a long pole that holds the microphone near the action but out of frame, allowing the microphone to follow the actors as they move.

The key grip is the chief grip during production. Grips can help with the creation of shadow effects and also use lights and operate camera cranes, dollies, and platforms as requested by the cinematographer.

The dolly grip controls the dolly track while using the dolly along that track. The dolly is a cart that the camera, and at times crew, sit on. It makes it easy to move the camera from spot to spot for smooth results.

A crew will have two best boy positions — the best boy/electric and the best boy/grip — who work under the gaffer and key grip. The best boy/grip works over the other grips and grip equipment. The best boy/electric supervises electricians and the electrical gear.

The stunt coordinator will make sure that professional stunt people are on board to take care of the challenging stuff that makes a movie exciting. They make sure to follow safety regulations and that all the right safety gear is on place during action.  

The visual effects director’s position changes depending on the actual needs of the production experience. At times, the visual effects director supervises the effects on set. Other times, they may supervise other things that have to do with the teams working away from the set—such as with set technicians.

FX is a film industry term for special effects. The job of the FX coordinator changes from project to project. Special effects range from in-depth animation like helping a character fly to simple on-set logistics like a shower being turned on.

The property master stays on top of everything having to do with essential props for a scene. A prop is a moveable item that must be used in a scene.

The Leadman works under the set designer and leads the swing gang (the people who set up and take down the set) as well as the set dressing department.

The set dresser handles everything on set that doesn’t have to do with the prop that is a must for a scene. They take care of items like curtains, artwork, dishes, and more, to ensure the environment looks realistic.

The costumer handles the costumes on set so that they are clean and on par with what’s needed on set. They also make sure that the right cast members get the costume that corresponds to their character.

The make-up artist is a licensed professional that can apply make-up to the talent (above the chest to the top of the head and from the tips of the fingers to the elbow). 

The union rules determine that a body make-up artist apply any make-up below the actor’s breastbone, or above the elbow (Also see make-up artist).

The hairdresser is someone who can cut, style, and color the casts’ hair as needed in production. They can also style wigs and cut them when necessary. They typically have the gear on hand and rent it to the production project as needed on a weekly basis.

Sometimes referred to the runner on set, the production assistant (P.A.) stays on top of small yet important details pertaining to production.

The production office coordinator (P.O.C.) takes care of the production’s office duties, and when the production is on location, they stay back. They’ll take on the tasks of paperwork, crew coordination, and taking phone calls. The P.O.C. also makes sure that new versions of the script are available as edits are made. When determining film crew positions, a P.O.C will definitely have the answer. 

The unit publicist makes sure the media knows about production by sending out press releases, setting up interviews of cast and crew, lining up on-set visits, and preparing media kits, which often include publicity pictures, visuals, audio clips and plot summaries.

The production caterer is responsible for meals during production, especially for on-location shoots. The caterer makes sure that what is served is according to the needs of those on set, such as the cast, crew, and they’ll often make sure the star gets the special stuff they request.

This person handles stuff like coffee, drinks, and snacks for the cast and crew on set. They also take care of different chores.

A good Craft Service will serve special treats for the crew. Sometimes they have specials like; barbeque whinny’s on a stick, cut watermelon/cantaloupe,  popsicles’, etc.. by given out these specials,  the Craft Service Professional can keep the moral high on a long day of shooting.

A day player is an actor that may only have a few lines or scenes. They’ll be hired on a daily basis, as needed. They must be told when they are finished at the end of a day of work, or they’ll be needed for the next day of filming.

A Background Actor is someone who performs in a nonspeaking role, usually in the background of a scene. They help make movies, TV shows, and other productions look and feel more authentic. After all, hospitals, concerts, and city streets would just look like movie sets without Background Actors to give them life.

The transportation coordinator is responsible for making sure that the actors, crew, and equipment can get to the location where the team will be shooting on a daily basis. They coordinate whatever is needed, from semis to limos.

Post-Production is the stage after production when the filming is wrapped and the editing of the visual and audio materials begins. Post-Production refers to all of the tasks associated with cutting raw footage, assembling that footage, adding music, dubbing, sound effects, just to name a few. This process isn't completed in one single pass. Typically, the editor creates a first or rough cut. From there, additional edits will be made until you land on the final version of the film. Overall, this can take anywhere from a few weeks to a few months, or even years, depending on the length and complexity of the film.

Post Production Crew

The post-production supervisor handles the final aspect of the film once shooting ends. He or she will be at editing sessions, take care of quality control, and coordinate audio mixing, computer graphics, and other technical aspects.

The color timer works hand-in-hand with the cinematographer. They work in the lab to correct and balance the color of the film to the director’s vision for how they want the scenes to look.

Negative cutting is the process of cutting motion picture negative to match precisely the final edit as specified by the film editor. original camera negative (OCN) is cut with scissors and joined using a film splicer and film cement.  The process of negative cutting has changed little since the beginning of cinema in the early 20th century.

A Foley artist is a person who re-creates sounds for film, video, and other media in post-production to enhance audio quality. They replace sounds that cannot properly be recorded on set. Foley studios have viewing screens, and props, as well as recording equipment to record sounds as they watch the film.

An ADR editor records the additional dialogue needed to complete a feature film, television drama, and, sometimes, a documentary. ADR stands for ‘automated dialogue replacement’ and is also referred to as ‘post-synching’. It’s essentially recording extra dialogue in the studio after the film has been captured.

The music mixer handles the final soundtrack of the movie. The music mixer carefully works their magic to balance and mix the film’s musical score to effortlessly blend with the dialogue.

The matte artist is a part of the special effects department. They have the talent to create locations that don’t exist. They construct backgrounds, either using traditional methods or on a computer, that blend with the live-action on an actual set.

The editor works closely with the director in editing the film. The director has the primary say in editing decisions, but the editor often has a lot of input to provide when it comes to the creative decisions that are made with the final cut of the film. The editor will often get started while the film is being shot and puts together the preliminary cuts from daily footage. Increasingly, editors do their “thing” through computer editing consoles without ever having to touch the actual film.

When pondering what film crew positions are, the final product wouldn’t be possible without an editor. 

Film distribution is the process of making a movie available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy for the film, the media by which a film is to be exhibited or made available for viewing, and who may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater or television, or personal home viewing. For commercial projects, film distribution is usually accompanied by film promotion.

There are other production crew members, but this list includes some of the most prominent. New Mexico film commission posted this Chain of Command.

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