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| TERM | DEFINITION | POLSKIE TŁUMACZENIE | CATEGORY |
|---|---|---|---|
| producer | the producer is in charge of initiating, coordinating, supervising, and controlling activities such as generating funds, employing essential staff members, contracting, and arranging for distributors. The producer is active in all aspects of the process, from project development to project completion | producent | Roles: Key Creative Team |
| director | the director is in charge of overseeing the creative aspects of a film, such as controlling the plot's content and flow, directing actors' performances, choosing the locations where the film will be shot, and managing technical details such as camera positioning, lighting use, and the timing and content of the film's soundtrack | operator filmowy, reżyser obrazu, autor zdjęć | Roles: Key Creative Team |
| screenwriter | screenwriters or scriptwriters are in charge of researching the story, constructing the narrative, composing the screenplay, and providing it to the Producers in the proper format. They are virtually always freelancers who pitch unique ideas to Producers in the hopes of having them optioned or sold, or who are commissioned by a Producer to write a screenplay based on a concept, true story, existing script, or literary work, such as a novel or short story | scenarzysta | Roles: Key Creative Team |
| executive producer | an executive producer is typically a project investor or someone who facilitated the project's finance. Depending on the financial circumstances, a project may have numerous executive producers | producent wykonawczy | Roles: Production Department |
| line producer | a line producer is typically in charge of a film's budget. In addition, or otherwise, they may manage the day-to-day physical components of film production | producent liniowy | Roles: Production Department |
| production manager | the production manager is in charge of the physical components of production, such as personnel, technology, budget, and schedule. It is the PM's obligation to ensure that the filming runs on time and within budget. The PM frequently works under the supervision of a line producer and reports directly to the Production Coordinator | kierownik produkcji | Roles: Production Department |
| production coordinator | the production coordinator is the production's information hub, in charge of coordinating all logistics such as recruiting personnel, renting equipment, and booking talent. The PC is an essential component in film production | koordynator produkcji | Roles: Production Department |
| production secretary | the production secretary assists the production co-ordinator and production manager with administration in the production office | sekretarz biura | Roles: Production Department |
| production accountant | production accountants are in charge of handling finances and keeping financial records during the filming process. They collaborate closely with the Producer and the production office to manage the day-to-day accounting office duties and report on the project's financial success in relation to budgets (cost reporting) | administrator filmu | Roles: Production Department |
| post-production supervisor | post-production supervisors are in charge of the post-production process, ensuring clarity of information and open lines of communication between the Producer, Editor, Supervising Sound Editor, Facilities Companies (such as film labs, CGI studios, and negative cutters), and the Production Accountant | kierownik postprodukcji | Roles: Production Department |
| first assistant director | the first assistant director (1st AD) works alongside the production manager and director. They are in charge of the day-to-day management of the cast and crew schedule, equipment, screenplay, and set. They ensure that filming is completed on time while also providing a working environment in which the director, principal artists (actors), and crew may concentrate on their work | II reżyser planowy | Roles: Production Department |
| second assistant director | the second assistant director (2nd AD) is the chief assistant to the first AD and assists him in carrying out the tasks allocated to him. The 2nd AD collaborates closely with the Production Coordinator to generate daily Call Sheets that inform the crew of the shooting day's schedule and crucial details | II reżyser biurowy | Roles: Production Department |
| third assistant director | the third assistant director (3rd AD) collaborates with the "First" on set and may communicate with the "Second" to move actors from unit base, organise crowd scenes, and manage one or more production assistants | asystent reżysera | Roles: Production Department |
| production assistant/production runner | the production assistant, often known as a runner, helps the first assistant director with on-set activities. PAs also help out in the production office with various general tasks | asystent produkcji | Roles: Production Department |
| continuity person | see Script Supervisor | sekretarz planu | Roles: Production Department |
| script supervisor | script supervisor keeps track of which parts of the script have been filmed and notes any differences between what was actually filmed and what was in the script. To maintain continuity from shot to shot and scene to scene, they take notes on every shot and keep track of props, blocking, and other elements. Also known as "continuity" | sekretarz planu | Roles: Production Department |
| stunt coordinator | where a stunt is required for the film and the use of stunt artists is necessary, the stunt coordinator will coordinate the casting and performance of the stunt, working closely with the Director | kaskader koordynator | Roles: Stunts Department |
| stunt performer | the stunt performer performs supervised stunts on film which are planned and overseen by stunt coordinators. They must perform action aspects of a film that require specific skills. They take the place of actors when an action is regarded as dangerous or certain skills are required | kaskader | Roles: Stunts Department |
| story producer | in TV, the story producer is in charge of the entire story across all episodes. In reality television, the narrative producer is in charge of developing a plot via editing/producing the show's source material. They may also be in charge of composing the host's dialogue | w telewizji, odpowiedzialny za fabułę wszystkich odcinków | Roles: Script Department |
| script editor | script editors provide a critical overview of the screenwriting process, employing their analytical skills to assist the screenwriter in identifying problems and thereby strengthening and developing the screenplay | redaktor scenariusza | Roles: Script Department |
| script co-ordinator | the script coordinator is in charge of writing each version of the script and annotating it for the production team's convenience | asystent redaktora scenariusza | Roles: Script Department |
| location manager | the location manager is in charge of locating and securing production locations, as well as arranging logistics, permits, and expenses involved. They are also the production's public face in the area | kierownik ds. lokacji, menadżer obiektów | Roles: Location Department |
| location assistant | the location assistant assists the location manager and is present on set before, during, and after production. General responsibilities include arriving first at the location to enable the set dressers on set; ensuring the cleanliness of the locations during production; and dealing with concerns from neighbours | asystent kierownika ds. lokacji | Roles: Location Department |
| location scout | the location scout is responsible for the initial location scouting for the production, taking into account production logistics such as location fees and financial constraints, local permitting costs and laws, camera and lighting requirements, proximity to other locations, production services, crew and unit parking, and so on | skaut | Roles: Location Department |
| director of photography/cinematographer | the director of photography oversees the film's camera and lighting departments. In collaboration with the director, the DoP makes judgements on lighting and scene framing | operator filmowy, operator obrazu, reżyser obrazu | Roles: Camera Department |
| camera operator | to capture the scenes on film, the camera operator works under the guidance of the director of photography or film director. Depending on the camera format used for filmmaking (e.g., film or digital), a director of photography may or may not control the camera, however these two responsibilities are sometimes combined | operator kamery, szwankier | Roles: Camera Department |
| first assistant camera (focus puller) | the first assistant camera (first AC) is in charge of maintaining the camera in focus while shooting | ostrzyciel | Roles: Camera Department |
| second assistant camera (clapper loader) | the second assistant camera (2nd AC) starts each take by operating the clapperboard and loading raw film stock into the camera magazines between takes. In addition, they are in charge of the log books that record when the film stock is received, used, and sent to the lab for processing in the light-tight cans. | asystent operatora obrazu, asystent kamery | Roles: Camera Department |
| loader | the loader moves film from the manufacturer's light-tight canisters to the camera magazines, where the 2nd AC attaches it to the camera. Following filming, the loader removes the film from the magazines and deposits it in the light-tight cans for transport to the lab | asystent operatora obrazu, asystent kamery | Roles: Camera Department |
| camera production assistant | the camera PA, who is usually a trainee in the camera department, supports the crew with minor details while learning the craft of the camera assistant, operator, or cinematographer | stażysta w pionie operatorskim | Roles: Camera Department |
| digital imaging technician (DIT) | the digital image technician is in charge of coordinating the internal workings of the digital camera on digital productions. Under the instruction of the director of photography, the DIT will edit the final image by adjusting the number of variables available in most professional digital cameras | asystent elektronicznej kamery cyfrowej (DIT) | Roles: Camera Department |
| data wrangler | on digital productions, the data wrangler is in charge of transferring data from the camera to a computer and/or hard drive | data wrangler | Roles: Camera Department |
| steadicam operator | a steadicam operator is someone who is skilled at operating a Steadicam (a camera stabilisation rig) | operator steadicam | Roles: Camera Department |
| motion control technician/operator | this technician operates a motion control rig, which is essentially a 'camera robot' capable of repeating camera moves for special effects purposes | operator robota pozwalającego na wykonanie niezwykle precyzyjnych i powtarzalnych ruchów kamery filmowej | Roles: Camera Department |
| video split/assist operator | video assist operators (VAOs) take the images generated by the film or digital cameras and display them on video monitors so the director and other crew members can see exactly what’s been shot. These images are also recorded for playback, so the action can be reviewed after each take | operator, który pobiera obrazy generowane przez kamery i wyświeta je na monitorach, dzięki czemu reżyser i inni członkowie ekipy mogą zobaczyć, co dokładnie zostało sfilmowane | Roles: Camera Department |
| production sound mixer (sound recordist) | the production sound mixer oversees the sound department on set and is in charge of recording all sound while filming. This includes selecting microphones, operating a sound recording device, and sometimes mixing audio signals in real time | operator dźwięku | Roles: Sound Department |
| sound designer | also called an SDx or a supervising sound editor, develops the sonic world for film, television, and theater projects. They create or source everything the audience hears. This includes the soundtrack, sound effects, and atmospheric sounds | reżyser dźwięku | Roles: Sound Department |
| sound editor | the sound editor is responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound | montażysta dźwięku | Roles: Sound Department |
| sound supervisor, supervising sound editor | a professional audio engineer who works in theater, television, or film production. The main responsibility of someone in this position is to organise and manage the way sound is handled in post-production. A sound supervisor may also work on set during filming in some cases | asystent reżysera dźwięku | Roles: Sound Department |
| boom operator (boom swinger) | during filming, the boom operator is in charge of microphone placement and movement. The boom operator positions the microphone above or below the actors, just out of the camera's frame, using a boom pole | operator mikrofonu | Roles: Sound Department |
| key grip | the key grip is the set's chief grip and the head of the set operations department. The key grip assists the director of photography in setting up the stage and achieving proper lighting and blocking | szef wózkarzy | Roles: Grip Department |
| best boy (grip) | the best boy grip is the key grip's chief assistant. They are also in charge of keeping the grip truck organised throughout the day | II wózkarz | Roles: Grip Department |
| dolly grip | the dolly grip is the grip in charge of operating the camera dolly. They set up, level, and move the dolly track before pushing and pulling the dolly, with a camera operator and camera assistantas riders | wózkarz | Roles: Grip Department |
| gaffer | the gaffer is the head of the electrical department and is in charge of designing and executing a production's lighting plan. The gaffer is also known as the "Chief Lighting Technician" at times | mistrz oświetlenia | Roles: Electrical Department |
| best boy (electrical) | the best boy electric is the chief assistant to the gaffer | główny oświetlacz | Roles: Electrical Department |
| lighting technician | lighting technicians are responsible for the installation and operation of lighting equipment. | oświetlacz | Roles: Electrical Department |
| generator operator | the generator operator maintains the functioning of the generators typically used on film location, particularly in remote areas or where extra power is needed | agregaciarz | Roles: Electrical Department |
| production designer | the production designer is responsible for the overall aesthetic of the film, including settings, costumes, props, and character makeup. They play an important creative role in the creation of films and television shows, working closely with the director, cinematographer, and producer | scenograf | Roles: Art Department |
| art director | the art director works directly under the production designer, in collaboration with the set decorator and set designers. Much of their work involves the administrative aspects of the art department. They are responsible for assigning tasks to personnel such as the art department coordinator and construction coordinator, keeping track of the art department budget and schedule, and overall quality control. On films with smaller art departments, such as small independent films and short films, the terms "production designer" and "art director" are often used interchangeably, and the person filling the role may be credited as either | asystent scenografa | Roles: Art Department |
| set designer | the set designer is the draughtsman, frequently an architect, who creates the structures or interior spaces that the production designer has specified | projektant wnętrz | Roles: Art Department |
| illustrator | the illustrator makes visual representations of the designs in order to express the production designer's ideas | ilustrator | Roles: Art Department |
| set decorator | the set decorator is in charge of decorating the set, which includes all of the furnishings and other objects visible in the film | dekorator wnętrz | Roles: Art Department |
| buyer | the buyer finds, then buys or hires the set dressing | osoba, która znajduje, znajduje, a następnie kupuje lub wynajmuje scenografię | Roles: Art Department |
| set dresser | the set dressers apply and remove the "dressing," which includes furniture, drapes, rugs, and even doorknobs and wall sockets | osoba, która zajmuje się nakładaniem i zdejmowaniem dekoracji obejmujących meble, zasłony, dywany, a także klamki i gniazdka | Roles: Art Department |
| props master | the props master is responsible for locating and handling all of the objects utilised in the production. Usually has a team of assistants | główny rekwizytor | Roles: Art Department |
| standby props | standby props work on set during the filming of a scene, overseeing the use of props, and monitoring their continuity. They are able to respond quickly to requests for moving props and fixtures and to help position actors, crew and equipment | rekwizytor planowy | Roles: Art Department |
| props builder | props builders are technicians who have experience in construction, plastics casting, machining, and electronics | konstruktor rekwizytów | Roles: Art Department |
| armourer | the armourer is a props technician who specialises in firearms | zbrojmistrz | Roles: Art Department |
| construction coordinator/ construction manager | the construction coordinator is in charge of ordering materials, scheduling work, and supervising the construction staff of carpenters, painters, and labourers | kierownik budowy dekoracji | Roles: Art Department |
| key scenic | key scenic is in charge of the set's surface treatments, which include specific paint treatments such as ageing and gilding to simulate the appearance of wood, stone, brick, metal, and so on | osoba odpowiedzialna za elementy plastyczne scenografii | Roles: Art Department |
| greensman | greensman is concerned with the creative arranging of plant material or landscape design | koordynator ds. zieleni | Roles: Art Department |
| (key) make-up artist | make-up artists use make-up, hair, prosthetics and special effects to create the look of every character in a film. Their job is to shape an actor's appearance on screen | główny charakteryzator | Roles: Hair & Make-up Department |
| make-up assistant | the make-up assistant works under the direction of the make-up artist, creating various looks and carrying out wide-ranging tasks | asystent charakteryzatora | Roles: Hair & Make-up Department |
| hairdresser / hair stylist | the hairstylist is responsible for maintaining and styling the hair of everyone who appears in the film. They work with the make-up artist. | stylista - fryzjer | Roles: Hair & Make-up Department |
| special effects makeup artist SFX Makeup Artists | The SFX makeup artist is responsible applying the pre-made prosthetics or smaller on-skin effects. This type of makeup can include creating the appearance of things like wounds, scars and wrinkles for ageing effects applied directly onto the skin | wizażysta FX | Roles: Hair & Make-up Department |
| costume designer | the Costume Designer is responsible for all the costumes and clothing worn by the cast. They design and plan the creation of the garments, down to the fabrics, colours and sizes | kostiumograf | Roles: Wardrobe Department |
| assistant costume designer | the assistant designer is the one who dresses the background actors. They also often deal with the budgets | asystent kostiumografa | Roles: Wardrobe Department |
| costume supervisor | the costume supervisor collaborates closely with the designer to oversee the development or sourcing of garments, the hiring of support personnel, the budget, documentation, and department operations | II kostiumograf | Roles: Wardrobe Department |
| costume standby | the costume standby is always present on set to ensure the quality and consistency of the actors' and actresses' costumes before and throughout takes. They also help the cast with their wardrobe | osoba zawsze obecna na planie, aby zapewnić jakość i spójność kostiumów przed rozpoczęciem zdjęć i w ich trakcie | Roles: Wardrobe Department |
| art finisher | during pre-production, an art finisher may be hired to 'break down' garments. Making fresh clothes look dusty, faded and old is part of this specialised job | osoba, która zajmuje się np. nadawaniem nowym strojom wyglądu zakurzonych, wyblakłych, starych | Roles: Wardrobe Department |
| buyer, shopper | a buyer may be hired on large projects to source and acquire fabrics and outfits | przy dużych projektach, osoba zatrudniona w celu pozyskiwania i nabywania tkanin strojów | Roles: Wardrobe Department |
| wardrobe supervisor | the wardrobe supervisor is responsible for overseeing all wardrobe related activities during the course of a film shoot | garderobiana | Roles: Wardrobe Department |
| cutter/fitter | a costume cutter or fitter is a costume technician who fits or tailors outfits on-set. They are also known as seamstresses or tailors | technik kostiumów, który dopasowuje lub szyje stroje na planie | Roles: Wardrobe Department |
| film editor (offline editor for video productions) | the film editor (or offline editor for video productions) works with the director to put the various shots together to create a coherent film | montażysta obrazu | Roles: Post-production Department |
| assistant editor | an assistant editor assists the editor by collecting and arranging all the elements required for the edit | asystent montażysty | Roles: Post-production Department |
| online editor, finishing editor (for video productions) | after the offline edit is finished, the online editor adds visual effects, titles, and colour correction. Additionally, they guarantee that the programme meets the technical delivery specifications | montażysta online | Roles: Post-production Department |
| colourist | the colourist adjusts the colour of the film to achieve greater consistency | kolorysta | Roles: Post-production Department |
| negative cutter | the film is cut and spliced by the negative cutter. They deliver the assembled negative reels to the lab for printing | montażysta negatywu | Roles: Post-production Department |
| visual effects supervisor | the visual effects (VFX) supervisor is in charge of the visual effects department | VFX supervisor | Roles: Visual Effects (VFX) Department |
| compositor | the compositor is a visual effects artist responsible for combining images from a variety of sources, such as video, film, computer-generated 3D images, 2D animation, matte paintings and text | montażysta filmowy odpowiedzialny za łączenie obrazów z różnych źródeł | Roles: Visual Effects (VFX) Department |
| roto/paint artist | the roto/paint artist crafts mattes by hand for use in compositing. They may also use paint to remove visual information from a scene, such as wires and rigs, logos, and scratches | grafik zajmujący się rotoskopią | Roles: Visual Effects (VFX) Department |
| matte painter | these artists draw or paint entire sets or extend portions of an existing set | artysta zajmujący się tworzeniem podmalówek | Roles: Visual Effects (VFX) Department |
| sound designer | a member of a film crew who is in charge of a film's post-production sound | reżyser dźwięku | Roles: Post-production - Sound/Music |
| dialogue editor | the dialogue editor compiles and edits all soundtrack dialogue | montażysta dialogów | Roles: Post-production - Sound/Music |
| sound editor | the Sound Editor is in charge of compiling and editing all of the sound effects in the soundtrack | montażysta dźwięku | Roles: Post-production - Sound/Music |
| re-recording mixer | the re-recording mixer is responsible for balancing the sounds supplied by the dialogue, music, and effects editors | realizator zgrania dźwięku | Roles: Post-production - Sound/Music |
| music supervisor | works with composers, mixers and editors to develop and incorporate music into a film. Negotiate the necessary licensing rights for all source music used in a film | konsultant muzyczny | Roles: Post-production - Sound/Music |
| composer | in charge of creating the musical score for a film | kompozytor ścieżki dźwiękowej | Roles: Post-production - Sound/Music |
| foley artist | a person who re-creates sounds for film, video, and other media in post-production to enhance audio quality. They replace sounds that cannot properly be recorded on set | imitator dźwięku | Roles: Post-production - Sound/Music |
| foley mixer | the foley mixer adds sounds to film and TV footage during the post-production stage between filming and editing. Professional foley mixers work with foley artists and a foley editor | osoba odpowiedzialna za nagranie efektów synchronicznych | Roles: Post-production - Sound/Music |
| casting director | works closely with the director and producer to understand requirements, suggest artists for each role, arranges and conducts interviews and auditions | reżyser obsady | Roles: Other Production Crew |
| storyboard artist | uses pen and paper sketches to visualise stories. Two of the most common methods are quick pencil sketches and marker renderings, however Flash, Photoshop, and specialised storyboarding software are being used more and more these days | storybordzista | Roles: Other Production Crew |
| caterers | catering is delivered to each Unit Base for filming by specialised companies in trucks loaded with food and a variety of supplies like gas, water and ovens | catering | Roles: Other Production Crew |
| unit nurse | on a film production, a unit nurse offers basic healthcare and first aid coverage to cast and crew | pielęgniarka na planie | Roles: Other Production Crew |
| stills photographer | stills photographers typically work on set, capturing scenes from the film, but they could also be asked to build up studio shots that correspond to the film's aesthetic | fotosista | Roles: Other Production Crew |
| entertainment lawyer | specialises in legal matters relating to the entertainment industry, providing legal advice and drafting contracts for film production | prawnik specjalizujący się w przemysłach kreatywnych | Roles: Legal Department |
| publicist | develops and manages the public image of the film and its key talent. Coordinates press releases, interviews and promotional events. Works independently and are only contracted for the length of each filming, however they might also be retained to handle distribution publicity in the lead-up to the film's premiere | publicysta, rzecznik prasowy | Roles: Publicity and Marketing |
| marketing coordinator | assists in the development and implementation of marketing strategies for the film. Coordinates publicity materials and campaigns | koordynator ds. marketingu | Roles: Publicity and Marketing |
| distributor | responsible for promoting, marketing and releasing the film to theatres or other distribution channels. Negotiates deals with exhibitors and manages the distribution strategy. | dystrybutor | Roles: Distribution |
| sales agent | represents the film to potential buyers, negotiates distribution deals and helps secure distribution agreements for the film in various territories. | agent sprzedaży | Roles: Distribution |