Role and Expectations

A helpful resource to ensure that everyone is on the same page.

Roles & Expectations

One of the unique aspects of the Women's Weekend Film Challenge is that when you get accepted, we place you on a crew with complete strangers and a complete equipment package. Once you're placed on a crew you'll instantly expand your professional network for referrals and hires.


When you apply for the challenge you're asked to rank your top three choices for a role you can fulfill on the team. The role descriptions below are meant to help you decide if you're qualified to fill a particular role and to ensure that everyone understands what is expected of them. Due to the demanding timeline and limited funds of the challenge, the roles might be slightly different than what you've experienced on past sets. Please read through the descriptions to make sure you know what you're signing up for.

Role Descriptions

Producer (Team Leader)

Each crew is assigned a team leader who is the main point of contact between WWFC and the team. Since this role is crucial to the success of the challenge, anyone considered for this role will go through an additional phone interview and, if accepted, an orientation. WWFC stays in contact with the team leader before, during and after the challenge and provides her with additional resources such as an orientation booklet. The team leader will be in charge of 25 to 30 teammates. She must be a clear communicator, patient, organized and positive. It is expected that every applicant for team leader has experience with on-set production. In the week leading up to the film challenge, team leaders will lead their team in securing locations, securing food donations, coordinating schedules and finding any crew replacements. The team leader will lead their team's pre-production meeting, which WWFC will host in the week before the challenge. Team leaders will handle the budget for the team and determine how to allocate the modest stipend WWFC provides. The team leader must be in contact with WWFC organizers during the challenge weekend. She must submit all materials necessary for production insurance. She must update WWFC on any crew changes, location specifics and anything else that comes up. The team leader is responsible for submitting the film by the midnight deadline (or she can allocate this to the editor). She is responsible for organizing the pick-ups and drop-offs of all the provided equipment by the deadlines (typically pickups are on the Thursday or Friday of the challenge weekend and drop-offs are on the Monday after the challenge). She will work with the team's photographer and graphic designer submit the behind-the-scenes photos and poster by the Tuesday after the challenge. She will create the IMDb page for the film and attend the film festival submission workshop on behalf of the crew in order to submit the films to festivals and receive the stipend for the submissions.

Associate Producer

You will:

  • support the team leader.
  • assist in finding locations, equipment, props and team member replacements if need be.
  • be available for pre-production meetings and throughout the challenge weekend.
  • be listed as an associate producer in the credits and IMDb.
  • help create the IMDb page and submit to festivals.


This is an unconventional way to make a film, as you will have no say on your crewmembers and you will not know what your script or genre is. If you are selected as director, you will be reqired to attend an orientation with the writers and team leaders to help get everyone on the same page. You are in charge of approving the logline that the writers will develop into a scrip, and you have final say on the script and edit (provided that the team leader agrees to the logistical aspects of your vision). Directors are also required to attend the pre-production meeting where she will meet her whole crew. She should familiarize herself with the reels of the actors, DP, etc. before the challenge weekend. The director should work with the producers to ensure the equipment, locations and schedule are in line with her vision. She should be available during the writing process (Thursday evening) to provide feedback and notes to screenwriters as needed. She should meet with the AD and DP to finalize the production schedule and storyboard and be available for the entire weekend of production and post-production. The director oversees the project from beginning to end to ensure quality and consistency of vision. Since this is the most competitive role in the application process, in order to be choosen for this role, you must have directed before and have experience managing teams larger than 20 people.

Assistant Director

The assistant director keeps the shoot on schedule and safe. You will work with the team leader and director to write the call sheet every day of production, taking in all of the parameters – actor conflicts, location needs, etc. – and then adjust the schedule as things come up during production. Before each shoot, you should run through the plan for the day and make sure everyone is aware of location restrictions, production goals, safety measures, and other special needs for that day. You will keep track of the shot list (coordinate with DP on the best way to handle this). As an assistant director you must be a clear communicator and you need to have a sense of authority on set. A loud voice is a bonus! This role is crucial for the success of production so experience as an AD is necessary.


Each crew has two writers. You will be required to attend an orientation meeting where you will meet your co-writer, director and team leader. At this meeting you will go over the scehdule for writing, expectations, and protocols. The writer is expected to be on set during the weekend to consult with the director on any changes. If she is not there, she will not have a say in any changes. The writer must be flexible as changes are always necessary under a tight deadline. Before the challenge weekend begins, you will meet the actors on your team so you can get a sense of characters you can create for them. On the Thursday night of the challenge weekend, you will receive the genre and required prop for your team. This is when you can start writing the script with your partner. It is important to offer several loglines to your director before you start working on the script. The director will approve which logline to develop. The script needs to incorporate the genre and prop that WWFC assigns to the team. The writers need to take into account the available locations and the actors. The roles for the assigned actors must be named and lead roles. You can add more characters to the script if your team leader is ok with recruiting more actors. The general outline of the script should be done by midnight so that the production team can get ready to shoot the next day and so that the director can offer any notes. The rough draft shoud be done by 8am and the production script should be done by 10am on the Friday of the challenge. The script should be between 2 to 8 pages. Writers for this challenge need to be flexible, team players. They need to be okay with the script changing drastically. They need to be able to work quickly under stress and most importantly be available to write overnight on Thursday. Suggested schedule: Thursday: 6 p.m. - 8 p.m. meet with director and finalize the logline 8 p.m. - 10 p.m. finalize the outline 10 p.m - 12 a.m. finish rough draft and get notes from director. 8 a.m. - 10 a.m. finalize the script


All actor appplications will be reviewed by a casting director, and then WWFC makes the final casting decisions. Actors' reels are required so the the casting director can get a sense of your ability. If you do not have a reel, include a self-taped reading of a monologue. Each crew will have two assigned actors. If you are selected for this highly competive position, you will be required to attend the pre-production meeting and be available throughout the challenge weekend. You cannot have any conflicts during filming. You may be asked to bring some costume pieces from your own warddrobe. This is a non-union production.


You will:

  • discuss with the director and the DP what format the film will be shot in, and inform the team of any known limitations your system has. (For example, working on a computer that doesn’t handle 4K footage well or fast enough).
  • be familiar with, and have access to, professional editing software such as Adobe Premiere or Final Cut.
  • determine the workflow and divide responsibilities between editor and assistant editor.
  • receive the raw footage from the production team.
  • sync the video and audio of the footage.
  • edit a first cut of the film.
  • collaborate with the director on any changes that need to be made to the edit in order to picture lock.
  • export the audio and transfer it to the sound mixer.
  • transfer the edit to the person doing color correction (unless you are also doing color correction).
  • handle the final export of the film.
  • be available during and after the challenge. You may be receiving footage as early as Friday morning. It is best to complete as many tasks as possible early on, such as the final credits.
  • ensure that everyone’s names and roles are correct in the final credits, and that the credits adhere to WWFC guidelines.
  • be available to communicate with the director, AD, and/or producer during post-production.
  • complete and deliver the low-res version of the film by 11:59 p.m. on the challenge weekend.
  • complete and deliver the final, high-resolution film by 8 p.m. on the Tuesday following the challenge. This is the version that will be screened the next weekend.

Assistant Editor

Your role is to suppport your editor under a tight deadline. You will be in charge of the end credits, ensuring that every name and role is correct, and that all the sponsors logos are correct. This work should be done by Saturday night of the challenge. You will also help load the raw footage for your edit, label everything according to your editor's preferences, and help in any other way your editor needs. The relationship between editor and assistant editor is unique so make sure to discuss the workflow and expectations with your editor before the challenge weekend starts.

You must have experience editing in order to be considered for this role.

Cinematographer/ DP

You will:

  • establish the visual look of the movie regarding lighting, film stock, shot selection, camera operation and other elements.
  • work with the gaffer on the lighting design and ensure that as a team you have all the equipment you need to create the desired look.
  • consult with the director and AD on the shooting schedule and shot list.
  • operate the camera if your team does not have a camera operator.
  • frame the scene, oversee the camera filters and aperture settings, and select special equipment.
  • submit raw footage to the editor.

Asssitant Camera (1st and 2nd)

You will:

  • be available for pre-production meetings and production.
  • discuss the workflow and specific division of labor with the DP.
  • familiarize yourself with the equipment the DP will be using.
  • transport, keep track of and maintain organization of all camera equipment.
  • be ready to assist DP with the change over of lenses, media cards, and batteries.
  • pull focus (the DP might do it themselves), either next to the DP on camera or on a remote monitor.
  • put down tape marks for actors or to mark distances for the benefit of actors and DP in blocking.
  • possibly run B cam if there is more than one camera.
  • slate shots.
  • guide and catch the DP if they are moving within a crowded space so that they aren't bumped or hurt, nor is anyone or anything around that could be backed into or hit.
  • work with the AD and DP to maintain shot lists.
  • be present and alert on all practicalities like time and equipment on behalf of the DP.
  • bring your kit if you have one. (Some items that should be included in your kit: camera/lens cleaning kit, multitool and hex key set, measuring tape, dry erase markers, pens, sharpies, a wax pencil, bongo ties, a flashlight, AA batteries, C47s, velcro strips, and a variety of width and color of gaff and paper tape, and a slate.)


You will:

  • be available for all pre-production meetings and all of production.
  • be responsible for all the practical aspects of lighting sets and locations in order to fulfill the director and DP’s vision.
  • discuss all lighting aspects with DP, AD and relevant crewmembers.
  • determine if any equipment needs to be rented or borrowed.
  • submit a request to the team leader if you need an insurance certificate for your equipment. (Please see official rules for more information on insurance policies.)
  • work closely with camera and sound to create a safe and creative environment for the shoot.
  • arrange and focus each rig according to the relevant lighting plan.
  • ensure that all equipment is properly stored, or loaded safely for return to owners.

Production Sound

The sound mixer will:

  • be available for pre-production meetings and production.
  • advise on what locations will be good for sound and what to avoid/look out for.
  • determine what equipment is necessary for the shoot and decide if anything needs to be rented or borrowed. Submit a request for an insurance certificate if necessary (see official rules for insurance policies).
  • Control the noise on set; shut off what you can to make the location quieter (i.e. air conditioner, refrigerator, etc.).
  • operate the appropriate equipment (i.e. recorder, boom, lavs).
  • record all necessary dialog cleanly.
  • record wild lines if necessary (for any off-screen dialog or to replace any on-screen lines that weren’t able to be recorded cleanly).
  • record room tone and ambiance to help with editing.
  • submit files to editor (or if determined earlier, assistant editor, or team leader).


You will:

  • be available for pre-production meetings and production.
  • discuss the themes, vision, and tone of the film with the director to determine the style of music.
  • be comfortable with and have access to DAW software (ProTools, Digital Performer, Cubase, etc.) and able to import and export audio and video files quickly.
  • be able to sync audio to video, using timecode.
  • send temporary music to the editor and director if need be.
  • compose and record original music for the film, or provide pre-existing tracks that suit the film.
  • send a finished music mix in 48k/24bit WAV format to the editor with enough time for revisions and a sound mix, including stems if requested.
  • be available for final tweaks after the challenge.

Hair and Make Up

You will:

  • be available for pre-production meetings and production.
  • meet with the director and or creative team to determine the look for hair and makeup.
  • bring all necessary tools and supplies to set.
  • keep shared tools and supplies sanitary.
  • provide touch-ups throughout filming.
If possible, we will assign someone to do hair exclusively and make up exclusively, but there is a chance you will need to do both. Please specify in the application is you cannot do one of these roles.

Art Director

You will:

  • be available for pre-production meetings and production.
  • discuss the look and vision with director and DP and inform them of any limitations or special abilities you have when it comes to fulfilling that vision.
  • obtain the necessary props while staying within your team leader’s budget (ideally everything will be donated).
  • dress the set.
  • place props when necessary and keep track of all props that are not in use.
  • return props and dressings to their rightful owners.
  • submit receipts if your team leader has agreed to reimburse you.

Production Assistant (PA)

Unlike most of the roles in Women's Weekend Film Challenge, this role is open to film students and those with limited experience. You will:

  • be available for pre-production meetings and production.
  • know who you report to on set but also be available to anyone who asks for assistance.
  • be ready to perform physically demanding tasks in an efficient, safe manner (wear comfortable, closed-toes shoes!).
  • familiarize yourself with the call sheet, the set, and everyone working on set.
  • be ready to retrieve miscellaneous items and keep receipts for reimbursements if your team leader has approved this.
  • if the set is outdoors or in public, prevent strangers from walking through the set and talking during filming. Keep an eye on valuables (equipment and personal belongings) as well.
  • make sure that the crew is silent during filming.

Script Supervisor

The script supervision must familiarise herself with the script before filming and be on set during all of production. Before filming, she must check for any inconsistencies in the script. She will check the shooting schedule to ensure that all the required scenes are shot and adequately covered, listen closely during filming to ensure that actors are saying the lines correctly and that no dialogue is overlooked, make sure that costume, makeup and hair, props and lighting are consistent between takes. and provide actors with dialogue start points, and exact continuity details. She will ensure that other departments are aware of the status of each shot, and that slates are marked up accordingly and provide the director and editor with precise and detailed notes of each take and confirm directors' take preferences and note these for post-production. She will work with the screenwriters to develop a story synopsis that can be used on IMDb and for festival submissions. Someone who is applying for screenwriter can also serve as a script supervisor. You must be familiar with the role of a script supervisor and experience on set is required.

Behind-the-Scenes Photographer and Videographer

You will:

  • take photos and videos during pre-production and production.
  • send photos as a Google Drive or Dropbox link to your team leader so that they can submit them to WWFC by the Tuesday, 8 p.m. deadline. Label all photos with this format: Team name - Photographer’s name - #. Save all photos as a jpeg and videos as MP4s. Only send up to 100 photos in this file and make sure to include photos of:
  • The slate
  • The group
  • The director in action
  • The DP (with the camera in the shot)
  • Lighting
  • Sound
  • Makeup artist doing actors’ makeup
  • The craft services table
  • Post-productions pictures (i.e. editor or composer at work) are a bonus!
  • Any behind-the-video you captured

Social Media

You will:

  • be available for pre-production meetings and production, and continue to promote the film via social media after the challenge weekend is over.
  • create and promote a Facebook page, Twitter handle, and/or Instagram account for the film.
  • craft posts and unique hashtags that the crew can use and share. Always include #wwfilmchallenge and #womensweekendfilmchallenge so that we easily find your posts and share them.
  • collect quotes from cast and crew members to use in social media posts.
  • pull from the behind-the-scenes photos to create social media posts.
  • be sure to follow all Women’s Weekend Film Challenge accounts and be retweeting, sharing, etc. WWFC posts throughout the challenge. You can even engage with social media people from other teams to heighten the diaglog about WWFC throughout the challenge weekend.
  • continue posting about the film after the challenge (some great events to cover are the screening the weekend after the challenge, and the festival submission party).
  • post on social media whenever your team’s film is accepted to a film festival.

Graphic Desiger

As graphic designer, you will coordinate with the behind-the-scenes photographer(s) to determine if any specific promotional shots are needed for the film poster. You will design and complete a poster and submit to the team leader so that she can submit it to us and add it to the IMDb page by 8 p.m. on the Tuesday directly following the challenge. Make sure to follow standard film poster formatting including the credits at the bottom and the standard film poster dimensions. Include the “W” from the Women’s Weekend Film Challenge logo in the bottom of the poster credits. Remember NOT to use your team name on the poster. For example, during the inaugural challenge, we named all of the teams after a major film (ex. Lady Birds). Due to copyright issues, you can NOT use wording like “A Lady Birds Production” on the poster or any other promotional materials.

Key Grip

You will be on set for all of production. You will work with the DP and director to design and then set up all the rigging for the camera. Experience as a grip is necessary.

Costume Designer

Women's Weekend Film Challenge is an unorthodox experience for costume designers as the actors are assigned beforehand, but the script has not yet been written — and you don't even know the genre. At 6 p.m. on Thursday, April 4, each team will be assigned a genre via Facebook Live. The writers will start writing. By late Thursday night or early Friday morning, you should have a draft of each of your teams' scripts. Then, you can email the actors on those teams with what clothing pieces/colors/accessories/etc. they should look for in their own closets. They can email or text you pictures and you can tell them what to bring to set for each scene. It would be good to make note of any other team members who are the same clothing or shoe size as the actors in case there are certain pieces or looks that you are missing and you need to make use of other team members' closets. You should be on set to see the actors together in their costumes and approve or make last-minute changes.

Boom Op

You will: - Be available for pre-production meetings and production - Advise on what locations will be good for sound and what to avoid/look out for. - Operates the boom on set to record all necessary dialog cleanly - Record room tone and ambiance to help with editing. As you will be partnered with a more experienced sound mixer, this is the perfect role gaining more experience in sound.

Post Sound

You will:

  • Complete audio editing, audio mixing, and (possibly) sound design for the team.
  • Be comfortable with and have access to DAW software (ProTools) and able to import and export audio and video files quickly.
  • Review sound design with the director for correctness and tone.
If you have experience in production sound and you would like to be more involved, you can do both roles (just list them as your first and second choices).