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The director of photography is the chief of the camera and lighting crew of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director. Typically, the director tells the DoP how he wants the film to look, and the DoP then chooses the correct aperature, filter, and lighting to achieve the desired effect.

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The term cinematographer has been a point of contention for some time now. It is usually synonymous with "director of photography," though some professionals insist that it only applies when the director of photography and camera operator are the same person.

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The camera operator uses the camera at the direction of the cinematographer, director of photography, or the film director to capture the scenes on film. Generally, a cinematographer or director of photography does not operate the camera, but sometimes these jobs may be combined.

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The first assistant camera operator (1AC) is responsible for keeping the camera in focus as it is shooting.

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The second assistant camera operator (2AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes, if there is no additional specifically desiginated film loader. The 2AC is also in charge of overseeing the meticulously kept notebooks that records when the film stock is received, used, and sent to the lab for processing. Additionally, the 2nd AC oversees organization of camera equipment and transport of the equipment from one shooting location to another.

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The loader is the desiginated film loader. He transfers motion picture film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 1st AC. After exposure during filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the laboratory. It is the responsibility of the loader to manage the inventory of film and communicate with the 1st AC on the film usage and remaining stock throughout the day. On small production crews, this job is often combined with the 2nd AC. With the prevalence of digital photography, this position is often eliminated.

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Usually a volunteer or trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.

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On digital photography productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the cinematographer or director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to creatively or technically manipulate the resulting image.

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 A Steadicam operator is someone who is skilled at operating a Steadicam rig (the genericized trademark for a camera stabilization rig).

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This technician operates a motion control rig, which is essentially a 'camera robot' that is able to consistently repeat camera moves for special effects use[1]. Motion control rigs are typically rented with an experienced operator.