ACCOUNTING DEPARTMENT

PRODUCTION ACCOUNTANT (AUD): The AUD is responsible for the Accounting Department and its costing of the production, the supervising of the Assistant Accountants, daily or weekly cost reporting, and all formal communication with the studio and/or producers. The Production Accountant’s duties include but are not limited to:

• Possessing a thorough working knowledge of industry specific production requirements
• Managing accounts payable, petty cash, journals, account books to trial balance, cost reporting, hot costs and budgeting
• Managing cash flows, production schedules and reports, tax considerations and financial structures
• Reporting requirements for all available tax incentive regimes, and studio and Government audit requirements

POST PRODUCTION ACCOUNTANT (PPA): The PPA is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed.

FIRST ASSISTANT ACCOUNTANT (1AA): The duties of the 1AA (Payroll) include but are not limited to the processing of the cast and crew payroll, and shall not preclude the necessity of fulfilling the requirements and qualifications of a 1AA (General).The duties of the 1AA‘s (General) duties, as delegated by the AUD, shall include but are not limited to:

• Possessing a thorough working knowledge of production accounting software and Guild, Union and Government regulations required in the preparation of crew and cast payroll
• Reporting requirements for all available tax incentive regimes and studio and government audit requirements
• Posting all journals into the ledger, preparation of accounts to trial balance
• Preparing accounts payable, payroll, petty cash, bank reconciliations
• Keeping records and other related duties associated with day to day operations of production accounting

SECOND ASSISTANT ACCOUNTANT (2AA): This position may be filled in a large accounting department subject to the minimum crew requirements of any agreement. The 2AA’s duties, as delegated by the AUD or 1AA and in consultation with the AUD, include but are not limited to:

• Preparing accounts payable, invoices and purchase orders, petty cash, payroll calculation and journals
• Data entry

ACCOUNTING CLERK (AC): The duties of the AC include but are not limited to:

• Processing cheques, filing, auditing petty cash envelopes and other duties assigned by the Production Accountant
• Data entry

This position requires a working knowledge of production accounting software and general computer literacy. A working knowledge of basic accounting procedures is a prerequisite.

TRAINEE ASSISTANT ACCOUNTANT (AT): The AT should not take the place of an Assistant or Clerk. There shall be no more than one (1) trainee per Clerk in the department at any time. The validity of the trainee shall be determined by the Employer, the Guild, and the AUD. The trainee may work the length of production. The trainee’s responsibilities may never match or exceed that of the Clerk or the Assistant.

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ART DEPARTMENT

PRODUCTION DESIGNER (PD): The PD is engaged when the scale of, or the approach to, the production requires special coordination between several departments, which may include, but is not limited to, the Art Department, Set Dressings, Prop, Wardrobe, Hair and Make-up, Camera, Lighting, Staging and Editing, Special Effects, Locations and Accounting. The PD’s duties include but are not limited to:

• Generating set design sketches and renderings; location selections and treatments; and design concepts relating to set decoration, properties, special effects, lighting, costuming, make-up and hair
• Collaborating with the Producer, DIR and the Director of Photography to realize these elements on film
• Working with the DIR and the Director of Photography to determine key shots
• Establishing production budgets and schedules in conjunction with the Producer and the DIR
• Working through the ART and the applicable department heads to achieve the style of a motion picture production

ART DIRECTOR (ART): Coordinates the preparation and execution of all the visual elements of the production. The ART’s duties include but are not limited to:

• Designing and preparing drawings and sketches for all sets and shooting locations, construction and set decoration
• Preparing the design approach on all set decoration, properties, special effects, lighting, costuming, make-up and hair
• Administering the budget for the Art Department and for the preparation of the script breakdown in liaison with the ADC.

An ART working under a PD functions as the PD’s representative on set, in the Wardrobe, hair and make-up departments, and in the construction workshop. The ART makes decisions based on the PD’s information and works under the supervision of the PD. In such circumstances, an ART may perform the work functions of a SD.

FIRST ASSISTANT ART DIRECTOR (1AR)/SET DESIGNER (SD)/GRAPHIC DESIGNER: The 1AR performs those duties delegated to him/her by the ART. The 1AR/SD may function as the ART’s representative on set, in the wardrobe and make-up departments, and in the construction shop and makes decisions based on the ART’s information. A 1AR/SD is in charge of the “drawing” functions of the Art Department. S/he is an experienced draftsperson and/or graphic artist who is familiar with Art Department budgeting and workflow.

SECOND ASSISTANT ART DIRECTOR (2AR): Performs those duties delegated to him/her by the ART and/or by the 1AR/SD. The 2AR’s duties include but are not limited to:

• Drafting and drawing floor-plans
• Measuring, surveying and/or photographing locations
• Assembling visual research materials and graphic design

ART DEPARTMENT COORDINATOR (ADC): The ADC’s duties include but are not limited to the coordination of or participation in the following:

• Setting up and closing down the Art Department office
• Assisting the ART/PD/SD with research
• Coordination of supplies for the department

At the discretion of the M&T, the above qualifications for admission to membership in the Art Department may be waived or reduced if the applicant is of exceptional merit, or if exceptional circumstances exist. In these cases, the application will also be subject to final approval by the National Executive Board.

ART DEPARTMENT TRAINEE (ADT): Is a general assistant to the Art Department while being provided with training. To qualify for membership, a candidate must have either (i) successfully completed the Art Department Apprentice Program through the relevant District Council (where applicable) OR (ii) worked in the category in which they are seeking membership for a minimum of 150 days, with at least 75 shoot days. Days worked must include a minimum of three separate productions, of which two may be separate seasons of the same series.

The candidate must be able to demonstrate skills and experience in film or a related field, and show some understanding of the visual arts. Related skills may include but not be limited to: theatre design, architecture, interior and display design, still photography, graphics, painting, scenic painting, drafting and sculpture. The candidate must also take part in a portfolio review with the District Council Membership Committee and an interview in person.

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ASSISTANT DIRECTOR DEPARTMENT

FIRST ASSISTANT DIRECTOR (1AD): Is the First Assistant to the DIR. S/he operates in cooperation with the DIR and the PM as the Producer’s administrative consultant applying his/her artistic, technical and professional expertise as the on set expediter and is responsible for maintaining optimum coordination among crew categories and performers in order to maintain the pace required by the shooting schedule as set by the DIR.  The 1AD’s duties include but are not limited to the coordination of or participation in the following:

• Preparing script breakdown and stripboard, listing probable requirements of performers and extras in each scene
• Preparing the shooting schedule and keeping it within the time limitations imposed by the budget, cast availability and the requirement of complete coverage of the script
• If delegated by the PM or in his/her absence, overseeing the search, survey and management of locations and ascertaining the specific requirements of those locations as they might affect the production. The 1AD must be sent to each location site sufficiently prior to the commencement of photography to adequately perform his/her duties.
• Checking weather reports
• Preparing “day out of day” schedules for performers and determine cast and crew calls
• Coordinating the preparation of the call sheet for the cast and crew
• Directing background action and supervise crowd control
• Supervising the functioning of the shooting set and crew
• Process minor contracts, extra releases, and on occasion obtaining execution of contracts by performers (this may also be delegated to the PM and 2AD)
• Coordinating the work of any additional Assistant Directors and/or PAs

SECOND ASSISTANT DIRECTOR (2AD): Is assistant to the 1AD and is responsible to him/her.  The 2AD’s duties include but are not limited to the coordination of or participation in the following:

• Preparing the call sheets, handling extras’ requisitions and other required documents for approval by the 1AD, the PM and the production office
• Preparing the daily production report and end of day paper work
• Distributing scripts and script changes (after shooting has started) and call sheets to cast and crew
• Distributing, collecting, and approving extra vouchers, and placing adjustments as directed by the 1AD on the vouchers
• Communicating advance scheduling to cast and crew
• Helping to scout, survey and coordinate locations
• Facilitating the transportation of equipment and personnel
• Processing minor cast contracts, extra releases and, on occasion, securing execution of contracts by performers (this may also be delegated to the PM and 1AD)
• Coordinating with production staff so that all elements, including cast, crew and extras, are ready at the beginning of the day, and supervising the wrap in the studio and on location (local, nearby and distant)
• Signing cast members in and out
• Maintaining liaison between PM and/or the production office and the 1AD Director on the set
• Assisting the 1AD to direct and place background action and supervise crowd control

THIRD ASSISTANT DIRECTOR (3AD): Is responsible to the 1AD with special emphasis on floor and set duties.

TRAINEE ASSISTANT DIRECTOR (TAD): A candidate who has entered the Assistant Director Department to be trained as an Assistant Director. The work functions of a TAD shall be assigned to him/her and performed under the immediate coordination, direction, and supervision of the 1AD.

TECHNICAL COORDINATOR (TC): Assists the DIR on a multi-camera television motion picture photographed continuously before a live audience or as though a live audience were present, in planning the placement and movement of each camera, with the responsibility of coordinating the execution of placement and movement of each camera.

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 DIRECTOR DEPARTMENT

DIRECTOR (DIR): Directs the production of a motion picture as the term "direct" is commonly used and understood in the motion picture industry and whatever is seen and heard in the finished product. The terms "director" and "directing" include all related functions and activities required for translating and transferring the script, premise and idea to the audio-visual images. The DIR's total function is unique and requires his/her participation in all creative phases of the motion picture-making process, including but not limited to all creative aspects of sound and picture. The DIR works directly with all the creative elements of the motion picture and participates in moulding and integrating them into one cohesive dramatic and aesthetic whole. 

The duties which the Producer may assign to the DIR include but are not limited to the coordination of, or participation in, the following:

• Surveying and approving all locations and their use as they pertain to the directorial concept and need to the extent not already approved at the time of the Director's engagement
• Planning the breaking down the shooting script
• Plotting the camera angle and composition within the frame
• Determining the requirements of the set, costumes, make-up, props, etc., for their proper directorial perspective and mechanical functioning
• Casting all performers
• Rehearsing actors and any of the visual and audio devices necessary for the completion of the production
• Directing the action of all performers
• Directing the dialogue as well as pre-recording and post-recording dialogue
• Supervising the duties of the entire crew during the rehearsal and shooting periods
• Making the necessary script changes, within his/her jurisdiction, for the proper audio-visual presentation of the production
• Making the "first cut" or Director's Cut" as this terminology is commonly used and understood in the motion picture industry. The Director shall participate in considerations about the utilization of trick shots, process plates, inserts, montages, miniatures, transparencies, background, stock material, optical devices, and glass and matte shots.

SECOND UNIT DIRECTOR (2UD): Directs second unit photography as this term is used and commonly understood in the motion picture industry. A 2UD works under the supervision of the DIR and the Producer. 

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PICTURE EDITING DEPARTMENT

SUPERVISING PICTURE EDITOR (SPE): Responsible for the preparation and organization of all post production visual elements of the motion picture. The SPE’s duties include but are not limited to the coordination of or participation in the following:

• Consulting and collaborating with the head of the Sound Editing Department through to the delivery of the final product
• Consulting and collaborating with the Producer to achieve an efficient, effective and economical Picture editing of the motion picture

PICTURE EDITOR (PE): Arranges a series of visual and aural images into proper sequence and story form.

FIRST ASSISTANT PICTURE EDITOR (1PE): Is an assistant to the Supervising PE or PE, or a group thereof. The work functions of a 1PE shall be such as assigned to him/her and performed under the immediate coordination, direction and/or supervision of the Editor s/he is engaged to assist. The 1PE duties include, but are not limited to, the coordination of or participation in the following:

• Supervising cutting room
• Coordinating picture assembly
• Contacting labs and optical houses
• Coordinating, directing and/or supervising APEs and Post PAs

In connection with video or electronic media, a 1PE may also perform any or all work functions of an APE. A 1PE shall not edit and/or cut the visual elements of the motion picture into proper sequence and story form except under the immediate direction and/or supervision of the Editor s/he is engaged to assist.

ASSISTANT PICTURE EDITOR (APE): Is a full category that combines the former categories of Second Assistant Picture Editor and Trainee Assistant Editor. The Assistant Picture Editor is engaged by the Producer in consultation with the head of the Picture Editing Department. The duties of the Assistant Picture Editor include, but are not limited to:

• Assists in the day-to-day running of the editing room;
• Assists in preparing (by digitizing, re-digitizing, synching in linear and nonlinear and/or print format, checking synch in any format, logging, marking, checking numbers, popping and coding) picture and sound elements for editing, screening, or transfers to various formats (tape, etc.) and making dubs as required;
• Assists in ordering of materials (retransfers, reprints, editing supplies, stationary, tape stock etc.);
• Maintains the system of organization (e.g. continuity, marked script, camera and sound reports, Dailies tapes, updating scripts, and any other editorial paperwork), established by the head of the Picture Editing Department.
• Where required, assists in additional non-linear duties: helping prepare database layout for Dailies screening notes; making screen notes using date from continuity and computer files provided with telecine material;
• Assists in communicating with other departments, service providers and transfer houses and, where required, may issue and deliver editorial memos etc.;
• Assists in the packing and shipping of elements; and the shipping of dailies/cuts to Producers in any format;
• Issues purchase orders to various facilities (for transfer, stock footage, FX, etc.) under the supervision of the head of the Picture Editing Department;
• Assists in maintaining petty cash;
• Creates a one-liner of scenes in cut order for screenings in any format; and,
• In preparation for screenings, assists in pulling selects and reference clips, in whatever format the show is utilizing.

For every shooting Day for which film is sent to a lab and where the duties of an Assistant Picture Editor include assisting in the prepping and projection of print Dailies and may also include organizing edge coding, filing of trims and other such duties, the Assistant Picture Editor will be upgraded to no less than the applicable rate as set out in the applicable District Council Schedule.

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SOUND EDITING DEPARTMENT

SUPERVISING SOUND EDITOR (SSE): Responsible for the preparation and organization of all sound elements of the motion picture. The SSE shall consult and collaborate with the Producer for the purpose of achieving an efficient, effective and economical sound editing of the motion picture. A SSE may perform any of the work functions of an SE including, without limitation, those of a Dialogue Editor (Ed.), Post-Synch Dialogue Editor, Effects Editor, Music Editor and/or Foley Editor.

SOUND EDITOR (SE): Responsible for the coordination, creation and making of sound effects, the synchronization and assembly of sound effects tracks and the preparation of dialogue tracks for the purpose of re-recording, including the synchronization of post-synchronized dialogue tracks to visual action. 

The work functions of an SE shall be deemed to include, without limitation, any and all work functions of a Dialogue Editor, Post-Synch Dialogue Editor, Effects Editor, Music Editor and/or Foley Editor.

FIRST ASSISTANT SOUND EDITOR (1SE): Assists the SSE or SE, or a group thereof. The work functions of a 1SE shall be such as assigned to him/her and performed under the immediate coordination, direction and/or supervision of the Editor s/he is engaged to assist.  The 1SE’s duties include but are not limited to the coordination of or participation in:

• Assembling soundtracks for re-recording
• Contacting labs and re-recording studios
• Coordinating, directing and/or supervising 2SEs and TASEs

In connection with video or electronic media, a 1SE may also perform any or all work functions of a 2SE. A 1SE shall not synchronize sound, dialogue or post-synchronized dialogue, sound effects, Foley tracks or music tracks, of any nature, for the purpose of re-recording except under the immediate coordination, direction and/or supervision of the Editor s/he is engaged to assist.

SECOND ASSISTANT SOUND EDITOR (2SE): Assists the 1SE. The work functions of a 2SE shall be such as assigned to him/her and performed under the immediate coordination, direction and/or supervision of the 1SE s/he is engaged to assist. A 2SE shall not perform any of the work functions of a 1SE except under the immediate coordination, direction and/or supervision of the 1SE s/he is engaged to assist.

To be considered for membership in this category, the candidate must have worked in the category for which they are seeking membership for a minimum of 30 days, on at least two Guild productions, and successfully completed the Trainee Assistant Editor Program through the relevant District Council (where applicable).

TRAINEE ASSISTANT (SOUND) EDITOR (TASE): A candidate who has entered the Editing Department to be trained as an Assistant Sound Editor. The work functions of a TASE shall be such as assigned to him/her and performed under the immediate coordination, direction and supervision of the 1SE.

In applicable District Councils, to be considered for membership a candidate must have:

1. a diploma, or accreditation of a film course, or Guild editing experience,
2. five days of observation in the editing room on a signed production, and
3. successfully completed the Trainee Assistant Editor Program through the relevant District Council.

 After the trainee has completed one job or 30 days of work on signed DGC productions, which ever is greater, he/she must be upgraded to a 2SE.

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PRODUCTION ASSISTANT DEPARTMENT

PRODUCTION ASSISTANT (PA) — ALL DEPARTMENTS: A PA acts as a general assistant responsible to the Department Head. 

• The PA’s duties include but are not limited to:  Acting as set “runners”
• Performing crowd and traffic control except where this work is customarily performed by police officers or by security personnel of a facility at which the photography takes place and which requires security personnel under its location agreement
• Maintaining locations
• Performing preliminary scouting and check the availability and cost of locations, if minimal

LOCATION DEPARTMENT

LOCATION MANAGER (LM): Secures locations for the approval of the Producer in consultation with the DIR, PD and ART makes all arrangements for same. Under no circumstances may an LM work without the supervision of a PM, except in the instance of initial location scouting.  The LM’s duties include, but are not limited to, the coordination of or participation in the following:

• Locating sites, whether through file search or scouting
• Contracting property owners as an authorized functionary of the Producer
• Negotiating property rental and use rates between owners and the production company
• Obtaining necessary permission or permits for location sites and location parking from appropriate government authorities
• Maintaining the negotiated condition and use of the location site in accordance with the rental contract or government permit
• Contacting appropriate area film office or council and maintaining a liaison with same during the course of location use
• May drive other persons provided such driving does not interfere with their regular duties
• Supervising ALM(s) and PAs on set, arranging for and scheduling police, location security, cleaners and facilitating all location requirements pertaining to prep, shoot and wrap of the location
• Consulting on a daily basis with all department heads as required to facilitate the shooting schedule
• Ensuring safety standards are met as required for any/all special effects and stunt related work

ASSISTANT LOCATION MANAGER (ALM): Is responsible to the LM. Under no circumstances may an ALM work without the supervision of an LM.

TRAINEE LOCATION MANAGER (TLM): The TLM works under the supervision of the LM and the ALM. The TLM trains in the basics of locations and location management including, but not limited to:

• Scouting locations
• Supervising location PAs
• Writing neighbourhood letters
• Assisting the LM and ALM to run sets
• Learning inventory control and the development of interaction skills with other departments and the general public

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PRODUCTION MANAGER DEPARTMENT

PRODUCTION MANAGER (PM): The PM, under the supervision of the Producer, is required to coordinate, facilitate and oversee the preparation of the production unit or units assigned to him/her. Additionally s/he is responsible for all off-set logistics, day-today production decisions, locations, budget schedules and personnel. The PM may also be referred to and credited as the Unit Production Manager (UPM).  The PM’s duties include but are not limited to the coordination of or participation in the following:

• Preparing script breakdown and preliminary shooting schedule
• Preparing or coordinating the preparation of the budget
• Doing a preliminary search and survey of all locations and completing the arrangements for same
• Preparing the production to ensure continuing efficiency
• Completing the production report for each day’s work, showing work covered and the status of the production, and arranging the distribution of that report in line with the Producer’s requirements
• Arranging the transportation and housing of cast, crew and staff
• Securing releases and negotiating locations
• Engaging all production unit personnel
• Liaising with local authorities regarding locations and the operation of the motion picture
• Obtaining authorization of overtime for cast and crew
• Coordinating and preparing, in conjunction with the AUD, the weekly cost report

ASSISTANT PRODUCTION MANAGER (APM)/UNIT MANAGER (UM): Is an Assistant to the PM. Under no circumstances may an APM or UM work without the supervision of a PM, except in instances of second unit work performed at another location.

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PRODUCTION COORDINATORS DEPARTMENT

PRODUCTION COORDINATOR (PC): The PC’s duties include but are not limited to the coordination of or participation in the following:

• Setting up and closing down the production office including ordering furniture, equipment and supplies
• Preparing and distributing shooting schedules, crew and cast lists, call sheets, production reports, movement orders and distribute scripts and script revisions
• Coordinating all travel, accommodation, work permits, visas, medical examinations and immunizations for principal crew and cast to conform with Company insurance and foreign travel requirements
• Ordering, importing and exporting equipment and booking personnel as directed by the PM
• Coordinating equipment and personnel pick-up and delivery in conjunction with the driver captain
• Coordinating film and sound tape shipping to and from the laboratory and/or distant locations

ASSISTANT PRODUCTION COORDINATOR (APC): The APC acts as a general assistant to the PC. The APC duties include but are not limited to the supervision of or participation in:

(a) Typing and filing
(b) Answering the telephone
(c) Maintaining an organized Production Office

Under no circumstances may an APC work without the supervision of a PC.

TRAINEE PRODUCTION COORDINATOR (TPC): Engaged by the Producer, in consultation with the PM and the PC, as an assistant responsible to the PC and the APC. Under no circumstances may a Trainee work without the supervision of a PC. The trainee’s duties may include, but not limited to:

(a) Typing, filing and distributing paperwork
(b) Answering telephones
(c) Shipping and receiving

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