Leadership
Every title here comes with instructions.
These are the actual job descriptions for the students who run this program — what each role owns, what it doesn't, and what the work really involves. They're public on purpose: if you're thinking about one of these jobs, read it before you ask for it.
Running the site
Every crew title
Not every one of these is assigned right now — this is the full crew list the advisor can title someone into, department by department, so it's clear how much a real production actually takes.
Production (10)
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- Executive ProducerThe person accountable for a project existing at all — money, permission, and the green light — even on the days they're not on set.
- ProducerRuns one project start to finish — the person who keeps it moving and can tell you how it's going.
- Line ProducerThe logistics of one shoot — call times, locations, and making sure the gear and the people show up together.
- Creative ProducerDecides what gets made and whether it's worth finishing — owns the whole slate, not just one project on it.
- Creative Producer & DirectorOwns both what gets made and how it looks — the slate and the frame, in one job.
- Production ManagerTurns a green-lit project into a real, workable schedule — days, locations, and what happens when something falls through.
- Production CoordinatorThe administrative center of a production — paperwork, releases, and keeping everyone's contact info and calls straight.
- 1st Assistant DirectorRuns the set on shoot day — keeps the schedule moving and calls when to actually roll.
- 2nd Assistant DirectorSupports the 1st AD — call sheets, background action, and keeping the set quiet when it needs to be.
- Script SupervisorTracks continuity — what a scene looked like, said, and did — so it cuts together across takes and days.
Direction & Writing (4)
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- DirectorOwns the story on screen — the performance, the shot, and whether a scene actually works.
- Head WriterOwns the scripts across a project or a season — the version of the story that actually gets shot.
- Staff WriterWrites scripts under direction — the words before anyone points a camera at them.
- ShowrunnerKeeps a recurring show consistent episode to episode — format, tone, and what's coming next.
Camera (6)
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- Director of PhotographyOwns the image — camera, lighting, and the visual plan that makes the director's vision readable on screen.
- Camera OperatorRuns a camera on a real shoot — framing, following the action, and holding a shot the editor can actually use.
- 1st Assistant CameraKeeps the shot in focus and the camera package running — the difference between a usable take and a soft one.
- 2nd Assistant CameraSlates, logs, and hands the camera team everything it needs without slowing anyone down.
- Drone OperatorFlies the aerial shots — legally, safely, and only where it's actually cleared to fly.
- Stills PhotographerShoots the photos that aren't video — behind the scenes, promotional stills, and the images that sell a project before anyone sees the film.
Lighting & Grip (4)
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- GafferRuns the lighting crew and makes the DP's lighting plan real on set.
- Best Boy ElectricThe gaffer's second — manages the electric crew's gear and logistics so the gaffer can focus on the look.
- Key GripRuns the grip crew — the rigging, stands, and support that hold every light and camera move in place.
- GripHandles the physical rigging on set — stands, flags, and whatever holds a light or camera in place.
Sound (5)
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- Production Sound MixerOwns audio on set — responsible for dialogue that's actually usable in the edit.
- Boom OperatorHolds the mic where it needs to be — close enough to catch dialogue, out of every frame.
- Sound DesignerBuilds the sound that wasn't recorded on the day — atmosphere and effects that make a scene feel real.
- Re-Recording MixerBalances everything audio in the final mix — dialogue, music, and effects — so every line is intelligible.
- ComposerWrites the original music — the score that tells the audience how to feel before the story does.
Art Department (6)
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- Production DesignerOwns the visual world of a project — sets, locations, and how a place is supposed to feel on screen.
- Art DirectorExecutes the production designer's vision on the ground — the day-to-day of getting a set actually built or dressed.
- Set DecoratorDresses the set — the furniture, props placement, and small details that make a location feel lived-in.
- Props MasterOwns every object an actor actually touches — sourcing it, tracking it, and making sure it's there for every take.
- Costume DesignerDecides what every character wears and why — costume is a storytelling tool, not just clothes.
- Hair & MakeupKeeps every actor camera-ready and continuous — the same look, take after take, scene after scene.
Post-Production (6)
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- Post-Production SupervisorOwns the pipeline after the shoot — media, delivery, and making sure a project actually finishes.
- Lead EditorOwns the cut — turns footage into a finished, watchable story.
- Assistant EditorOrganizes and preps footage so the lead editor can just edit — the unglamorous job that makes the glamorous one possible.
- ColoristGrades the picture — matches shots to each other, then gives the whole thing a deliberate look.
- VFX ArtistBuilds what couldn't be shot practically — effects, composites, and fixes that make the impossible look real.
- Motion Graphics ArtistBuilds titles, lower thirds, and graphics that read in two seconds and don't look like a default template.
Broadcast & Live (6)
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- Technical DirectorExecutes the director's calls at the switcher — cutting between cameras, rolling replays, punching in graphics, live, with no do-overs.
- Live Stream DirectorCalls a live broadcast from a headset — deciding what goes to air, moment to moment, and keeping the whole crew moving as one unit.
- Switcher OperatorRuns the physical switcher hardware — the hands that execute what the director and TD call.
- Replay OperatorMarks, trims, and rolls replays during a live broadcast — fast enough that they're still relevant.
- Sports Broadcast LeadOwns game-day coverage from the crew side — who's covering what, and whether the broadcast actually came together.
- On-Air TalentThe face and voice of a broadcast — commentary, hosting, or reporting, live or recorded.
Digital & Web (3)
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- Web ManagerKeeps the website's content current — events, competitions, resources — even without touching the code.
- Platform DeveloperBuilds and maintains the website itself — the code, not just the content.
- ArchivistKeeps the program's own history — past films, credits, and records — organized and findable.
Program Leadership (7)
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- Club PresidentRepresents the program and keeps it running as an organization — the person who speaks for it and steers it.
- Vice PresidentBacks up the president and picks up whatever the club needs that isn't already covered.
- SecretaryKeeps the record — meeting minutes, attendance, and the paper trail that makes the club function like an organization.
- Equipment ManagerKeeps the gear catalog honest — what exists, what's checked out, and what needs fixing.
- Social Media ManagerRuns the program's public presence — posting the work, and making sure it actually reaches people.
- Marketing LeadGets the word out about screenings, festivals, and events — makes sure an audience actually shows up.
- Festival CoordinatorManages festival submissions — deadlines, formats, and getting the program's work in front of judges.
Thinking about one of these? Read the whole playbook, including the parts about what the job doesn't get to decide. Most of the friction in a production program comes from two people who each think the other one owns a call — these say who does.
Titles are assigned by Mr. Rivers, usually to whoever's already doing a piece of the work. If that's you and nobody's noticed yet, apply for it, or see who holds a public leadership title now.