Who's Who on Set: The AD Team Explained for UK Supporting Artists

If you're new to working as a supporting artist on UK film and TV productions (or thinking about becoming one!), one of the first things you'll notice on set is the number of people – all of whom seem to have a very specific job. Knowing who's who will make your day run more smoothly, help you conduct yourself professionally and ensure you'll always know whose direction to follow.

On a typical set, supporting artists will work with the assistant director (AD) team. Read on to find out who’s who, including what each role is responsible for and what they need from you.

What is a supporting artist?

First things first: a supporting artist – sometimes called an extra or background artist – is a performer who appears in the background of film and TV productions, helping to create a realistic, populated world on screen. Supporting artists typically don't have speaking roles, but they're an essential part of every UK production, from flagship BBC dramas to major Hollywood films shooting in the UK.

Want to learn more? Read our handy guide about the different types of supporting artist on UK film and TV productions.

The AD team: your main point of contact on set

The AD team are responsible for keeping a production running on time and on schedule. While the director focuses on the creative vision of the project, the AD team handle the logistics – managing the set, coordinating cast and crew and making sure every scene is ready to shoot.

As a supporting artist, the AD team are who you'll have the most contact with on set. They'll brief you on the action required, position you in the scene, give you direction between takes and manage your schedule throughout the day.

Exactly who you interact with will depend on the size of the production and the nature of the scene being filmed. On a smaller shoot, you might work directly with the 2nd AD. On a large crowd scene, you may receive all your direction from a Crowd AD or their team. Understanding the structure helps you know whose instructions to follow, who to go to with questions and how to present yourself professionally.

The 1st AD (First Assistant Director) 

What they do: The first assistant director is the operational lead of the production. They're responsible for the overall shooting schedule and the logistics of every filming day, as well as keeping the entire crew working to the same plan.

Before filming begins, the 1st AD breaks down the script, identifying everything needed for each scene (from principal cast to the number of supporting artists required) and uses this to build the production schedule.

On set, the 1st AD runs the floor. They coordinate between departments, manage plan changes and ensure each scene is ready before filming begins. It's often them who calls the sequence of cues that leads to the director calling "action", including instructions like "turnover" and "background action."

As a supporting artist: You're unlikely to receive much direct one-to-one briefing from the 1st AD – they're operating at a production-wide level. But you'll be aware of their presence and when they speak, the whole set listens.

The 2nd AD (Second Assistant Director) 

What they do: The second assistant director sits one level down from the 1st AD and focuses on the day-to-day coordination of talent. The 2nd AD is responsible for creating the daily call sheet (the document that tells everyone on the production where to be and when and what's happening that day). They manage the movement of principal cast between hair, makeup and set and ensure everything and everyone is in the right place at the right time.

As a supporting artist: On smaller productions, the 2nd AD may be the person who briefs and directs supporting artists directly. On larger ones, that responsibility is more likely to sit with a 3rd AD or Crowd 2nd. Either way, the 2nd AD has a clear picture of the whole day and is central to keeping it on track.

The 3rd AD (Third Assistant Director)

What they do: On larger productions or complex shooting days, a 3rd AD is brought in to support the 2nd AD. They often take on more direct responsibility for managing supporting artists on the actual shoot day, checking people in on arrival, managing holding areas and briefing and directing supporting artists on set. They also wrap artists at the end of the day and record any additional payments or fees each artist is due on top of their daily rate.

As a supporting artist: On a mid-sized production without a dedicated Crowd AD, the 3rd AD is often the person you'll interact with most. They're experienced, practical and focused on making sure supporting artists are where they need to be and know what they're doing.

The Crowd 2nd (Crowd Coordinator)

What they do: On productions with many supporting artists – crowd scenes, big action sequences, busy location shoots – a dedicated Crowd 2nd (sometimes called a Crowd Coordinator) is brought in. This is a specialist role focused entirely on managing the day-to-day coordination of supporting artists.

As a supporting artist: As with the 1st AD, you’re unlikely to interact much with the Crowd 2nd, as they tend to focus more on logistics and planning than the day-to-day management of artists on set. That said, they may help out on set on busy shoot days, so it pays to be aware of who they are and what they do and if they issue you with any instructions, be sure to follow them.

Crowd 3rds

What they do: On very large productions or particularly complex crowd days, a Crowd 3rd will be brought in specifically to manage supporting artists on set. Their responsibilities mirror those of the Third AD on smaller productions. If it’s a very big production, there may me multiple Crowd 3rds who focus on specific sections or groups within the larger crowd.

The Crowd 3rd works closely with the wider AD team and is responsible for briefing supporting artists before filming, positioning people within the scene, managing movement and choreography and maintaining continuity between takes.

As a supporting artist: On large crowd days, the Crowd 3rd is your main point of contact. If you have a question, they or one of their team are the right person to ask.

Beyond the AD team: other crew you’ll meet on set

The AD team aren't the only people you'll encounter on a UK film or TV set. Depending on the production and the requirements of the scene, you may also spend time with:

• Director: The director is the creative lead of the production, responsible for the overall artistic vision of the film or TV show and how it translates to the screen. They work closely with the 1st AD, the director of photography and the principal cast throughout the shoot. How much you interact with the director will depend on the production. On most mid-to-large shoots, your instructions will come from the AD team rather than the director directly. On smaller productions, or in scenes where the director is working closely with the full cast, you may hear them call "action" and "cut" or receive brief direction from them personally. When that happens, listen carefully and respond professionally – it doesn't happen on every job, but when it does it's worth making a good impression.

• Hair and makeup: before filming begins, supporting artists are often seen by the hair and makeup department to ensure they're consistent with the look of the scene. On period productions or those with specific style requirements, this can be a more involved process. Be prepared to have your hair and makeup adjusted between takes if continuity requires it and always check with the AD team before making any changes to your appearance yourself.

• Costume: The costume department is responsible for dressing supporting artists in a way that's appropriate for the scene and consistent across the shoot. You may be issued a costume on arrival or asked to wear specific items from your own wardrobe that were pre-agreed during the booking process. As with hair and makeup, don't make any changes to your costume without checking first – continuity is everything on a professional set.

These individuals are busy, professional and working to tight timelines. Be cooperative, follow their instructions and treat any costumes or equipment you're given with care.

What the AD team need from UK supporting artists

Whatever the size of the production and whoever you're taking direction from on the day, the same principles apply:

• Arrive on time and camera ready: the AD team are managing tight schedules and every delay has a knock-on effect. Being ready when you're needed is the single most important contribution you can make.

• Pay attention during briefing: whether it's the Crowd AD addressing a hundred people or the 2nd AD speaking to a small group, the briefing is your instruction for the scene. If you're unsure about something, ask before filming begins.

• Follow direction quickly and without fuss: sets move fast. When you're repositioned or given a new instruction, respond promptly.

• Stay engaged between takes: resets can take time, but stay in position unless told otherwise, avoid getting your phone out and be ready to go when you're called.

The AD team notice when supporting artists are professional and easy to direct. That reputation follows you – and in the UK film and TV industry, it can open doors.

Start your supporting artist career today

If you're interested in becoming a supporting artist in UK film and TV productions, join the EP Casting Community today! With one free profile, you’ll make yourself available to  multiple leading UK casting agencies who use the community to find and book supporting artists for major film and TV productions. Create your free profile now.