Editing Film crew (section)

== Camera and lighting ==
[[File:Charlton Heston as Antony in Julius Caesar, B&W image by Chalmers Butterfield.jpg|thumb|upright=1.36|A [[camera operator]] filming a scene from the Hollywood film ''[[Julius Caesar (1950 film)|Julius Caesar]]'' (1950), starring [[Charlton Heston]].]]
[[File:FilmCrew.jpg|thumb|upright=1.36|Production of the television film ''[[Sherlock Holmes and the Case of the Silk Stocking]]'' (2004) at [[Somerset House]] in London.]]

; [[Cinematographer|Director of photography]]
: The director of photography (sometimes shortened to DP or DoP) is in charge of the look of the "frame" of the movie shots, hence the name "photography". They are the chief of the camera and lighting crew of the film. The DP makes decisions on lighting and framing of shots in conjunction with the film's director. 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.

=== Camera ===
; [[Camera operator]]
: The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film or video. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.
; [[Focus puller|First assistant camera]]
: The first assistant camera, 1st AC or focus puller, is responsible for keeping the camera in focus as it is shooting, as well as building the camera at the beginning of the day and taking it apart at the end. They also thread the film when a new magazine is loaded.
; [[Clapper loader|Second assistant camera]]
: The second assistant camera, 2nd AC or clapper loader, operates the [[clapperboard]] commonly referred to in the United States as a "slate" at the beginning of each take and loads the raw [[film stock]] or blank videocassette into the camera magazines between takes, if there is no additional specifically designated film loader. The 2nd AC is also in charge of overseeing the meticulously kept notebooks that record when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.
; Film loader
: The film loader transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this role is taken on by the digital imaging technician.
; Camera production assistant
: The camera PA, '''camera intern''' or '''camera trainee''', assists the crew while learning the trade of the camera assistant, operator or cinematographer.
; [[Digital imaging technician]]
: On digital photography productions the digital imaging technician, or DIT, is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image. It may also be the responsibility of the DIT to archive and manage the digital data, create compressed dailies from raw footage and prepare all digital images for post-production.
; [[Steadicam]] operator
: A steadicam operator is someone who is skilled at operating a steadicam (trademark for a camera stabilization rig). This person is usually one of the camera operators on the production.
; Motion control technician / Operator
: This technician operates a [[Motion control photography|motion control rig]], which essentially is a 'camera robot' able to consistently repeat camera moves for special effects uses. Motion control rigs are typically rented with an experienced operator.
; Set photographer
: The Set Photographer is the person who creates film stills, still photographic images specifically intended for use in the marketing and publicity. 

=== Lighting ===
; [[Gaffer (filmmaking)|Gaffer]]
: The gaffer is the head of the lighting department, responsible for the design of the lighting plan for a production. Sometimes the gaffer is credited as chief lighting technician.
; [[Best boy]] (electric)
: The best boy electric is the chief assistant to the gaffer. They are not usually on set, but dealing with upkeep of the lighting truck, rentals, manpower, and other logistics. Sometimes the best boy electric is credited as assistant chief lighting technician.
; [[Lighting technician]] / Electrics
: Also called electrics or lamp operators, lighting technicians are involved with setting up and controlling lighting equipment and temporary power distribution on set.

=== Grip ===
Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in the non-electrical components of lighting set-ups required for a shot, such as flags, overheads, and bounces. On the [[sound stage]], they move and adjust major set pieces when something needs to be moved to get a camera into position. In addition to lifting heavy objects and setting rigging points for lights, they also report to the key grip. In the US and Canada, grips may belong to the [[International Alliance of Theatrical Stage Employees]].

; [[Key grip]]
: The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and [[Blocking (stage)|blocking]]. They are also used to manoeuver the cameras around the set.
; [[Best boy]] (grip)
: The best boy is chief assistant to the key grip. They are also responsible for organizing the grip truck throughout the day.
; [[Dolly grip]]
: The grip in charge of operating the [[Camera dolly|camera dollies]] and [[Crane shot|camera cranes]] is called the dolly grip. They place, level, and move the dolly track, then push and pull the dolly, and usually a camera operator and camera assistant as riders.