Part 3 · Production department on set · Lesson 1 · 5 min read

The production department — who does what, and how a shoot day runs

The team that keeps the set running, and its day

The production department keeps the shoot on schedule. The producer is responsible for the money, people and schedule of the whole project, and the line producer runs the budget and day-to-day operations. Under them, a unit production manager (UPM) or production manager leads production assistants who handle locations, transport, catering, lodging, petty cash and lock-ups. Titles and how the work is split vary by production. On a shoot day, production is first in to open the location and last out, after restoring it and settling the money. Every other department brings its requests to production, so it is also the set’s main point of contact.

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Course outlinePart 3 · Lesson 1 · 7/49
  1. Part 1 · Production flow3
    1. 1How a production works
    2. 2Pre-shoot checklist
    3. 3How to make and read a call sheet
  2. Part 2 · Production office3
    1. 1Budgeting and cost reports
    2. 2Sponsorship and product placement
    3. 3Rights clearance
  3. Part 3 · Production department on set6
    1. 1The production department
    2. 2Locations, permits and neighbors
    3. 3Transport, catering and lodging
    4. 4Cast and background
    5. 5Running the set
    6. 6Petty cash and receipts
  4. Part 4 · Assistant directors and script6
    1. 1The directing team and its day
    2. 2Script analysis and directing prep
    3. 3Building the shooting order
    4. 4Rehearsal and blocking
    5. 5On-set calls and setup order
    6. 6Script supervisor notes and continuity
  5. Part 5 · Camera7
    1. 1Shots, angles and composition
    2. 2Setting exposure
    3. 3Choosing lenses
    4. 4Formats and frame rates
    5. 5Camera movement gear
    6. 6Camera team roles and the day
    7. 7Monitoring and data
  6. Part 6 · Lighting and grip6
    1. 1Lighting basics
    2. 2Choosing light
    3. 3Lighting fixtures
    4. 4Stands and mounting
    5. 5Shaping light
    6. 6Safety and setup order
  7. Part 7 · Art, costume and makeup5
    1. 1The art department and production design
    2. 2Dressing sets and locations
    3. 3Props and continuity
    4. 4Costume
    5. 5Hair, makeup and SFX makeup basics
  8. Part 8 · Location sound5
    1. 1Choosing mics
    2. 2Boom operating
    3. 3Gear setup, power, wireless
    4. 4Location sound
    5. 5Sync, timecode, sound reports
  9. Part 9 · Post-production4
    1. 1Editing workflow
    2. 2Color grading
    3. 3Post sound
    4. 4Delivery specs
  10. Part 10 · Distribution3
    1. 1Theatrical, streaming and TV distribution
    2. 2Preparing festival submissions
    3. 3Sales, rights and press materials
  11. Appendix1
    1. ·Korean set slang
Illustration of production crew with walkies in an office space next to a lit set, talking over a whiteboard with a schedule grid, with laptops, papers and radios on the table
AI-generated illustration

Who does what in production

Production department org chart (concept): the producer, then the line producer, then the UPM or production manager. Production assistants split locations (scouting, lock-up), transport (vans, parking), catering (meals, lodging) and petty cash (receipts, reconciliation). The AD department (schedule, calls) and other departments (requests, prep) connect to the UPM with dotted lines for daily contact. Titles and levels vary by productionProducerMoney · people · timeLine producerBudget · operationsUPM / PMRuns the departmentAD departmentSchedule · callsOther deptsRequests · prepLocationsScout · lock-upTransportVans · parkingCateringMeals · lodgingPetty cashReceiptsProduction assistants — on small shoots, one or two do it all
A common production department setup — solid lines show reporting, dotted lines show departments you deal with every day. Titles and levels vary by production.
  1. 1Producer — responsible for the project’s money, people and schedule.
  2. 2Line producer — runs the budget and day-to-day operations.
  3. 3UPM / production manager — leads the department and assigns the work.
  4. 4Production assistants — split locations, transport, catering, petty cash and lock-ups.
  • Producer — raises the money, chooses key crew and cast, and is responsible for finishing on budget and on schedule.
  • Line producer — builds the budget and tracks spending. This is the person who fits the number of shoot days and the scale of the shoot to reality.
  • UPM / production manager — runs the department. They assign location lock-in, transport and catering plans, and petty cash, and check on them every day. Whether a production has both titles, and which ranks higher, depends on the project and the company.
  • Production assistants — handle their area (locations, transport, catering, lock-ups, petty cash) on set. On a small shoot, one or two people do all of it.

How a shoot day runs

  1. 01Pre-productionFind locations and get permission. Plan transport, catering and lodging around the shooting schedule, and set up how you will receive petty cash.
  2. 02The day beforeGo over the call sheet the ADs prepared and confirm locations, parking and meal counts one last time. Check in again with the location and the neighbors.
  3. 03Shoot morningArrive before the main unit to open the location, set up basecamp and parking, and check restrooms and holding space.
  4. 04During the shootRun lock-ups and handle complaints, get meals ready and prepare the next unit move, all at once. Fit in calls to prep tomorrow when you can.
  5. 05After wrapPut the location back the way you found it and walk through with the owner. Sort receipts and petty cash, log the day, and leave last.

That makes production’s day longer than the shooting day. Splitting people into an advance team and a wrap team so they rest in turns, and making sure no one carries both today’s work and tomorrow’s prep, is a key part of the UPM’s job.

What a new production assistant should bring

  • Crew list and contacts — save each department’s contact to your phone ahead of time
  • Call sheet — get it the night before and check the location, call time, meal times and your own tasks
  • Set bag — walkie earpiece, power bank, pen and notepad, tape, gloves, receipt envelope
  • Location details — address, parking, restrooms, nearest convenience store and hospital
  • Reporting habit — tell the UPM as soon as a task is done or stuck

Where production meets other departments

Production doesn’t shoot anything, but every department’s requests land there. Don’t take requests verbally only. Keep them in a note or message so it is clear who agreed to do what, and by when.

What each department exchanges with production
DepartmentAsks production forGives production
Directing (ADs)Location lock-in, cast transport, lock-up timingCall sheet, shooting order, call times
Camera and lightingPower, truck parking, access to high placesGear lists, setup times
Art, wardrobe, hair and makeupAgreed scope for dressing the location, dressing roomsSetup and strike times, items coming in
SoundNoise control, agreement to switch off fridges and fansTimes when it must be quiet
Cast and managersDressing rooms, pickups, mealsArrival times, personal requests

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