Film terms

The person who is responsible for organizing and managing the Magazines or Scan Discs on which footage is captured. They also handle the transfer and organization of this data onto hard drives. Sometimes they create files for these transfers so that Editorial can more easily identify what’s being shot. They use a computer and special software for the transfers.

The person responsible for image quality control, on-set color correction, and managing a production workflow. Not all productions have a DIT, but this is the person with an arsenal of toys to tweak the look of the camera in the field. This position is often confused with a Data Wrangler but they are entirely different jobs.

See Data Wrangler.

This person controls the project’s artistic and dramatic aspects, visualizing the script or screenplay while guiding the technical crew and actors. They set the protocol and standards, as well as priorities for the project. Often, it’s their baby.

See Gaffer.

The person who is responsible for the look of the project. They compose the shots and paint with light, so they often work closely with the Gaffer and Key Grip for what is needed. They also supervise camera operators. Sometimes the DOP will also operate the camera.

Digital Imaging Technician. The member of the crew on set, in charge of ingesting footage from the cameras into the hard drives for safe storage. The footage is then taken to the editor to begin post-production.

This is a specialty job that takes coordination and good body movement technique. The Dolly Grip pushes the Dolly and knows how to set it up properly to get the smoothest ride possible for the operator.

Director of Photography. Frequently a camera operator too. Works alongside the director. In charge of the look, lighting, and composition of the film using various complex physical and technical skills. We use different DoPs depending on the vibe and genre of production.