A commercial shoot crew is organized by department. The producer runs money, schedule and people. The director runs the creative. The camera department captures the picture, the lighting and grip team shapes it, the sound team records dialogue, the art and wardrobe team dresses the world in front of the camera, and post-production assembles it all afterward. On a large shoot each job belongs to a different person. On a small shoot one person often covers several.
Titles and exact duties vary between countries, unions and companies, so treat this as a general guide rather than a rulebook.
Production
Producer. Owns the budget, the schedule, the hiring and the outcome. The producer decides what the project can afford, signs off on crew and locations, and is the person who says no when a request would break the plan. On a client job, the producer is usually the main point of contact for the client.
Director. Owns the creative vision on set: performance, framing in collaboration with the camera department, and the pace of the day. The director does not run the budget. The producer and director need to agree before the shoot on what the finished spot should do, because disagreements on set cost time.
Production manager and coordinator. Handle logistics: permits, insurance, call sheets, transport, catering and payments. On small jobs the producer does this work.
Assistant director (AD). Runs the set. The AD keeps the schedule, calls the shots in order, tells everyone when they are needed, and manages safety. The AD does not make creative decisions. A good AD is why a shoot day ends on time.
Production assistants (PAs). Carry out the practical tasks that keep the set moving: locking down locations, managing traffic, fetching items, running errands, relaying messages. PA is a common entry-level job and a useful way to learn how a set works.
Camera
Director of photography (DP, or cinematographer). Decides how the picture looks: camera choices, lenses, composition, lighting approach and color mood. The DP works from the director’s intent and the production’s budget and leads the camera and lighting teams.
Camera operator. Operates the camera. On many commercials the DP operates, and on larger ones a dedicated operator frees the DP to focus on lighting and the look.
First assistant camera (focus puller). Keeps the image sharp by adjusting focus during takes, and takes care of the lenses and camera setup. This job matters more than it sounds, since soft focus on a hero shot cannot be repaired in editing.
Second assistant camera and DIT. The second AC handles the slate, batteries, media and paperwork. A digital imaging technician (DIT), where present, manages the data coming off the camera, checks footage, and protects it with backups.
Lighting and grip
Gaffer. The head of the electrical or lighting team. The gaffer carries out the DP’s lighting plan, deciding what units to use, where to place them and how to power them safely.
Electrics. Assist the gaffer by setting and running lights, cables and power.
Key grip and grips. Handle everything that holds, supports or shapes light and camera, apart from the electrical equipment: stands, flags that block light, diffusion frames, dollies, cranes and rigging. The key grip works with the DP to place and move the camera safely.
On small shoots, one lighting person may cover both gaffer and grip duties, or the DP may light with the help of a single assistant.
Sound
Production sound mixer. Records dialogue and effects on set and monitors them live. The mixer decides microphone placement with the boom operator and lavalier mics and tells the director when a noise, such as an air conditioner or traffic, has spoiled a take.
Boom operator. Holds the microphone on a pole as close to the actors as possible without entering the frame.
Good sound on set saves time and money later. A line that was recorded badly often has to be re-recorded after the shoot, so a sound mixer’s request for a quiet moment is not a delay, it is protection of the final product.
Art, wardrobe, hair and makeup
Production designer or art director. Designs the look of sets and locations. On commercials the art director often chooses props, surfaces, colors and set dressing that fit the brand.
Prop master and set dresser. Manage the objects actors handle and the items that fill the space.
Wardrobe stylist. Selects and fits clothing. Keeps track of what each performer wears, because continuity matters across takes.
Hair and makeup artists. Prepare performers and maintain their look through the day, including touch-ups between takes.
Script supervisor. Where present, tracks continuity: what was said, what was held in hand, which way someone was looking in the previous take. On small commercials, someone else, often the director or AD, watches continuity.
Post-production
Editor. Builds the cut from selected takes. The editor works with the director and producer through rounds of feedback until the spot is approved.
Colorist. Adjusts color and contrast shot by shot so the finished spot looks consistent and matches the brand’s palette.
Sound designer and mixer. Clean dialogue, add effects and music, and balance the final mix for the platforms where the spot will run.
Motion graphics and VFX artists. Add titles, animated elements, product cleanup or effects after filming.
Which roles merge on small shoots
Budget determines crew size more than ambition does. On a very small job, a single producer-director might run both jobs. A DP may also operate the camera and handle lighting. One person may record sound while another holds the boom. A PA might pull focus for a simple shot, and a wardrobe stylist may also do props.
Combining roles saves money but brings trade-offs. A person who does two jobs can only do one at a time. If your director is also your producer, nobody is watching the budget while the director is focused on the actor. The usual rule is to merge roles when the work is simple and keep them separate when the work is risky, such as stunts, children, live traffic or expensive products.
How crew size changes cost
Crew is typically the largest controllable cost on a shoot, and every added person adds a day rate, travel, meals and sometimes equipment. Cost also scales with shoot length. Longer days need more breaks and may add overtime.
A practical way to control cost is to spend on the roles that protect the shoot: a producer or AD who keeps time, a sound mixer who prevents rework, and a DP who delivers the look. Trim where a role adds little to your particular spot, such as a script supervisor on a single-location, two-setup shoot.
An example of lean crews
LV Productions publishes crew sizes with its startup packages as an example of how scope shapes a team. Its Base Launch tier, from $10k, is a half-day shoot with a 2-person crew, and its Essential Launch tier, from $20k, uses a 3-person crew with one filming day. In San Francisco it also lists a 10-person crew on standby, and says its script, director and editor work as one team. The takeaway is that crew size follows deliverables: a founder-led hero video can run with two people, while a multi-scene commercial draws on the larger bench.
FAQ
What is the difference between a producer and a director?
The producer is responsible for the project’s money, schedule, people and delivery. The director is responsible for the creative work on set. They work together, but they have different decisions to make.
Do I need a gaffer on a small shoot?
Not necessarily. Many small commercials use one person to handle lighting alongside the DP. A dedicated gaffer becomes useful when the lighting plan is complex, uses many units, or has safety and power demands.
What does a production assistant do?
A PA supports every department with practical tasks, from keeping the set clear of passersby to bringing equipment or refreshments. It is a common first job in production.
Next step
Before you hire, write down the five decisions your shoot depends on: the look, the performances, the sound, the schedule and the budget. Assign each to a named person. If one person owns more than two, ask whether that is a saving or a risk.