Two subjects, deliberately kept apart

Performs a character shot by shot, deciding what it thinks and how its weight moves.

Simulates water, fire, smoke, cloth, hair and destruction, and delivers the caches to lighting.

Sets the virtual camera and stages the characters in the built set, turning boards into shots.

Lights CG shots and sequences, building the light rigs and holding continuity across a cut.

Decides how a surface behaves in light, and builds the shading networks and texture sets that do it.

Builds the geometry for characters, props and sets from design art, ready to rig and texture.

Builds rough 3D versions of unshot scenes so a crew can plan the shoot and the effects.

Builds the control system and deformation that lets an animator pose a static model.

Draws the film in sequence panels before any of it is built, then pitches it to the director.

Takes a shot from model to render single-handed, covering every 3D step in between.

Combines plates, CG renders and paintings into one image that reads as photographed.

Paints and builds the parts of a location that were never there, so they read as photographed.

Designs and animates type, graphics and screen content so information moves legibly.

Draws the mattes and removes the things that should not be in the plate.

Bids, schedules and tracks visual effects work, and controls what each change costs.

Decides how each effects shot will be achieved and makes sure the plate shot on set can support it.

Frames and moves the camera during takes, holding composition while the action changes.

Heads camera and lighting, and owns exposure, lens, light direction and contrast.

Protects the footage and manages the on-set colour pipeline between camera and post.

Builds, tests and maintains the camera, and keeps the intended subject in focus.

Slates every take, keeps camera paperwork and marks the actors.

Carries the camera and delivers moving shots that no dolly or track could reach.

Turns the production designer's concept into drawn, costed, buildable sets.

Designs the physical world of the film: sets, locations, palette, texture and detail.

Owns every object an actor handles, in every state it has to appear in.

Chooses and places everything inside a set: furniture, drapes, art, clutter and the lamps that light it.

Makes every line clear, consistent and continuous across cuts made from different takes.

Performs every human-contact sound to picture, in sync, with props on a stage.

Balances dialogue, music and effects into the final mix and the stems every deliverable is cut from.

Decides what a film sounds like and builds the effects, atmospheres and textures that carry it.

Runs the cutting room's media, sync, paperwork and turnovers so the editor can spend the day cutting.

Chooses and orders the shots, and sets the rhythm at which an audience receives the story.

Rebuilds the approved cut at full resolution from originals and builds the deliverables.

Moves the camera: pushes the dolly, runs the crane and executes the move with the operator.

Heads the grip department: supports and moves the camera, and in the US system shapes light.

Builds the overhead and structural rigging days before the shooting crew arrives.

Runs the electrical department's crew, kit and paperwork so the gaffer can stay on the floor.

Heads the lighting department and builds the light the cinematographer asks for.

Rigs, powers, positions and adjusts the lights the gaffer calls for.

Builds the systems that move assets and shots between departments and keep versions coherent.

Keeps the render queue moving: priorities, failed frames, memory limits and delivery deadlines.

Hybrid artist-engineer who builds tools and solves technical problems for one department's artists.

Decides what each scene is about and how it is staged, performed and finally cut.

Runs the set and the schedule so the director's plan fits in the day.

Writes the score, deciding where music enters, what it says, and when the film is better silent.

Finds, chooses and clears every piece of pre-existing music the film uses.

Places and moves the microphones on set, keeping them out of frame and out of the light.

Heads the on-set sound department and records the dialogue the finished soundtrack is built from.

Sets the final image: density, contrast, colour and where the eye goes, shot by shot and across the film.

Designs what every character wears, and what those clothes say before anyone speaks.

Designs and maintains every character's hair, make-up and prosthetics across the shoot.

Finds, secures and runs the real places a production shoots in.

Keeps the record of what was shot, how it matches, and whether the scene will cut.