WHO DGC ONTARIO REPRESENTS
On this page you will find a list of different departments represented by DGC Ontario and the various job titles and descriptions that comprise these departments. Click on a category title to see the full range of jobs associated with that area.
ACCOUNTING
Questions related to joining the Guild or upgrading your status can be emailed to Member Services department: membership@dgcontario.ca
A Director is the driving force in the dramatic and artistic aspects of an audiovisual work. The Director visualizes and defines the style and structure of the script while guiding the technical crew and actors in the fulfillment of that vision.
Production Manager (PM)
A Production Manager works closely with the Producer and/or Line Producer to oversee general operations through the implementation and administration of the production budget. A Production Manager must be able to liaise effectively with all department heads, be a good problem solver and show excellent leadership skills, all in a stressful and challenging work environment.
Assistant Production Manager (APM)
An APM assists the PM in the performance of his or her duties.
Unit Manager (UM)
The Unit Manager is engaged by the Producer in consultation with the Production Manager. Under no circumstances may a Unit Manager work without the supervision of a Production Manager. A Unit Manager is the PM’s representative on the shooting set. The Unit Manager assists in the coordination of the shooting set. The Unit Manager supervises the daily logistics of the shooting set in consultation with the Production Manager, Production Coordinator, Assistant Directors, Location Department, Transportation Department and the Art Department.
First Assistant Director (1AD)
The 1st AD Is responsible for breaking down all elements presented in a script, working with the Director and the DP to develop the shooting plan and schedule, and then making it all actually happen on set. A 1st AD must be a strong leader throughout both prep and the shoot, as well as a brilliant puzzle-master with an excellent mind for logistics, understanding of camera angles and techniques, and great communications skills.
Second Assistant Director (2AD)
A 2nd Assistant Director must be a genius organizer and communicator, as his/her function is to create the daily call sheet and all related prep and shoot documentation in consultation with the 1st AD and all Department Heads, ensuring that all required elements are reflected and scheduled for each day of the shoot.
Third Assistant Director (3AD)
The 3rd AD works directly with the 1st AD on set to make sure operations are running smoothly. 3rd ADs work closely with both principal and background performers, as well as the crew, keeping everyone informed of the needs of the set.
Fourth Assistant Director (4AD)
Typically, a 4th AD works at the trailers with and under the supervision of the 2nd AD. Generally, the 4AD manages cast while they are undergoing hair/makeup/wardrobe preparations, and keeps them informed of timing needs for set, while helping the 2nd AD with other administrative or communications tasks.
SET PA (PA)
A Set PA must have a strong work ethic, a positive attitude and good communications skills, and are assigned any and all necessary tasks by the senior ADs on the set.
Location Manager (LM)
Location Managers must possess a unique blend of creative and business ability, as they are responsible both for finding filming locations fitting the Director and Production Designer’s vision through the scouting and selection process, as well as securing all required contracts, insurance, permits and operational needs for filming locations, all while working within a budget.
Assistant Location Manager (ALM)
The Assistant Location Manager works under the supervision of the Location Manager to secure location permits, support space rentals, etc. and works as a liaison on set between the crew and the public. Good people skills are a must for this job.
Location Production Assistant (LPA)
The Locations PA works on set to ensure that all plans are implemented effectively, that permits and neighbours are respected, and that the set runs in a clean and efficient manner. A good attitude and a strong work ethic are required for this position.
Production Designer (PD)
The Production Designer is responsible for the visualization and generation of set design, sketches and renderings; location selection and treatments; and design concept relating to Set Decoration, Properties, Special Effects, Lighting, Costuming, Makeup and Hair. The PD collaborates with the Producer, Director and DP to realize all of these elements in the visual style they have created for the production.
Art Director (ART)
The Art Director co-ordinates the preparation and execution of all visual elements required for a production. An Art Director is the administrative and organizational heart of the Art Department, responsible for developing and monitoring the Art Department budget, along with schedules for all related departments.
First Assistant Art Director/Set Designer/Graphic Designer/Motion Graphic Designer (1AR)
The 1AR is responsible for the conceptualization and creation of original on-screen featured elements during production, and should be able to: design and create drawings or files in any format for original sets and/or graphic elements; draw up modifications of existing locations to make a set; and work unsupervised in consultation with the Art Director and/or Production Designer.
Second Assistant Art Director (2AR)
A Second Assistant Art Director may be assigned duties which include drafting, drawing floor-plans, measuring, surveying, photographing locations, assembling visual research materials, model making and graphic design. The 2AR may create original artwork under the supervision of the 1AR.
Art Department Coordinator (ADC)
The Art Department Coordinator works closely with the Art Director to assist with administration, procurement and budget tracking within the Art Department. An Art Department Coordinator may also be responsible for departmental clearances and product placement.
Trainee Assistant Art Director (TAAD)
The Trainee Assistant Art Director a learning position, and Trainees are to be directly supervised by senior Members of the Art Department in all their tasks.
Picture Editor (PE)
The Picture Editor is the creative head of department and supervises any editorial assistants. The Editor works closely with the Director in crafting the final story and must have an understanding of dramatic storytelling techniques to create rhythm, pace and tension. The Editor and Director work together in refining the dailies into an assembly edit which will then be approved by the Producers.
First Assistant Picture Editor (1PE)
First Assistant Picture Editors are in charge of the day to day running of the edit room, and must have a thorough understanding of the Post Production process and an aptitude for computer-based technology and editing software. They require excellent communication skills and the ability to take direction and pay attention to detail. They communicate daily with the heads of the Production, Sound and Camera departments, while keeping the Picture Editor informed of all and information concerning the editing of the film.
Assistant Picture Editor (APE)
The Assistant Picture Editor works under the direction of the 1PE, assisting with duties in the editing room. An APE needs a basic knowledge of the software and technology used throughout the editing process.
Trainee Assistant Picture Editor (TAPE)
The Trainee Assistant Picture Editor is a trainee position, working under the supervision of the 1PE and/or APE, assisting with the needs of the editing room.
Sound Editor (SE)
Sound Editors manage all of the Post Production Sound elements including dialogue, ADR recording, sound effects and Foley, and have an excellent knowledge of the entire sound editing process,. They are responsible for the organization of all these materials and their synchronization and assembly. They also work closely with the Re-recording Mixers in creating the final mix of all sound elements into a seamless synchronized soundtrack.
Music Editor (ME)
Music Editors are responsible for the preparation of all music materials and the synchronization and assembly of all music tracks. They work closely with Composers and other Sound Editors, and have an excellent understanding of music recording techniques and music structure.
First Assistant Sound Editor (1SE)
The First Assistant Sound Editor works in a fast paced environment and must possess excellent knowledge of computer software and recording electronics. They require excellent listening skills and an organized approach, and work closely with the various Sound Editors, Picture Editors and Re-recording Mixers.
Trainee Assistant Sound Editor (TASE)
The Trainee Assistant Sound Editor is a training position, working under the direction of the 1SE, assisting with the needs of the editing room.
Post Production Supervisor (PPS)
Post Production Supervisors are the administrative liaison between the Editorial department, Producers and Production Managers. In consultation with both Picture and Sound Editors, they are responsible for budgeting and scheduling Post Production. They oversee the scheduling of screenings, spotting sessions, ADR sessions, mixes and playbacks for Picture and Sound, and administer required contracts and paperwork for Post Production.
Post Production Coordinator (PPC)
Post Production Coordinators assist Post Production Supervisors in any and all aspects of their duties.
Post Production Assistant (PPPA)
The Post PA assists with paperwork, shipping, filing, and running errands, and provides general help in the editing department.
Production Accountant (AUD)
The Production Accountant is responsible for the coordination, supervision and operation of the Accounting Department in accordance with standard industry practice and standard business procedures. This position requires organizational skills and administrative abilities commensurate with those required by a comptroller in any business organization. The AUD must also have an understanding of the work of other production departments and an ability to communicate effectively with other department heads.
First Assistant Production Accountant (1AA General)
The First Assistant Accountant (General) is a Guild Member engaged by the Producer in consultation with the Production Accountant. The position of First Assistant Accountant (General) shall require organizational and administrative abilities normally required in the organization, maintenance and supervision of a Production Accounting office. This position is bondable
First Assistant Production Accountant (1AA Payroll)
The First Assistant Accountant (Payroll) typically processes the cast and crew payroll on a weekly basis. A strong understanding of collective agreements and pay structures is required, as well as knowledge of the required software to export all information to the payroll companies.
Second Assistant Accountant (2AA)
The Second Assistant Accountant's responsibilities are data entry, preparation of accounts payable, invoices and purchase orders, petty cash, payroll calculation, and journals etc.
Third Assistant Accountant (3AA)
The Third Assistant Accountant must be prepared to complete data entry, processing of cheques, filing, auditing petty cash envelopes and other duties assigned by the Production Accountant. In this position the person requires a working knowledge of production accounting software and general computer literacy. As well, a knowledge of basic accounting procedures is a prerequisite.
Trainee Assistant Accountant (TAA)
The position requires familiarity with bookkeeping practices, literacy, computer literacy and a willingness to learn. A Trainee works under the direct supervision of senior Accounting staff.
