We've all done it: watched the credits roll at the end of a film and, as soon as they're past the actors, you start to see all of these curious and bizarre titles that make no sense. Best Boy? Gaffer? 7681 different Producers? Follow along and I'll help demystify a few of most abstract and snicker-worthy jobs on a film set.

Line Crew: These are people involved in actual, physical production. They're on the set or in the studio during filming or recording to help create the actual audio and visual images that will end up on screen.

1. Best Boy—No, this is not the stars favorite trick working Santa Monica Boulevard. The Best Boy is the 2^nd in command of Grip or Gaff teams. Kind of like answering a question with a question I suppose, since you're probably now wondering WTF the Grip and Gaff teams are-we'll get to that. Let it be noted that Best Boys are not always, in fact, boys.

2. Key Grip—Not to be confused with Kung Fu Grip which is what makes GI Joe so badass. The Key Grip is the grand high pubah of the Grip team. Grips, in general are responsible for moving shit around. If something needs to be picked-up (grabbed/gripped) and moved somewhere, it's a grip that does it. For instance, the Dolly Grip is the dude (more than one usually) responsible for pushing the camera dolly.

3. Gaffer—The Gaffer is the chief lighting technician, not the guy responsible for tripping on things. He heads the Gaff team which is responsible for rigging and wiring all of the lighting equipment for the film. If you've ever heard of "Gaff Tape," these are the guys it's named for: it's a black (usually) non-reflective masking tape used to secure cords and equipment on film sets...it is rad.

4. Swing Gang—Not a bunch of dancers in zoot suits and long skirts. Not a polyamourous group of friends. If the Grips move shit, and the Gaffers wire shit, then the Swing Gang builds shit. They're the carpenters that construct and tear down artificial sets.

5. Foley Artist—This is the guy that arranges for online chat rendezvous between congressmen and underage pages. Actually, the Foley Artist uses a variety of techniques to recreate organic sound effects in a recording studio. Rocky connects with a right-hook? A Foley Artist may hit a frozen turkey with a spoon to get just the right dull smack/thud. Foley Artists tend to have more shoes than Imelda Marcos and every type of flooring surface imaginable to wear them on.

6. Script Supervisor—This has nothing to do with writing and, no, the script is not going to run away or throw a tantrum. The Script Supervisor is responsible for maintaining continuity during filming: making notes about positions, actions, hair, clothing, background, etc. so that the everything within (and between) scenes matches during editing. Ever notice a cigarette switch hands, or someone change clothes, or a phone leap across the room in the middle of a scene? That's the result of a lazy Script Supervisor (and shoddy editing).

It's Springtime for Hitler—The Producers: As opposed to the Line Crew, Producers do most of their work behind the scenes before, during and after physical production of the film. If every film is a business (and most of them are registered and accounted as such) then all of the various Producers represent venture capitalists, executive officers, the board of directors and upper management.

1. Producer—If each film is a short lived corporation, the Producer is the CEO. If there is more than one defacto Producer, it's kind of like the Executive Committee: CEO, CFO, CTO, etc. The Producer(s) find properties (scripts, novels, plays, etc) to make into movies. He's the guy that said, "this should be a movie," and got it made. This is why the Producer is the person that receives the Oscar for Best Picture. The Producer ushers, develops, facilitates and packages a film from concept to completion and, in many ways, bears the most responsibility for it's success or failure. Occasionally, the manager of a screenwriter will name himself a producer when he sends his clients screenplay out—in this case it's mostly a vanity title.

2. Associate Producer—Usually another executive within a production company who is active in producing the film. The Associate Producer is delegated their responsibility by the primary Producer who is often a senior executive within their production company. Senior VP's, if you will.

3. Co-Producer—Co-Producers often have primary responsibility for one or more specific managerial functions on the film. Their role isn't as comprehensive as primary or associate producers—think of them as VP's of Accounting, Finance, Acquisitions, Legal and so forth (usually more than one at a time).

4. Executive Producers—Keeping with our business analogy, Executive Producers would be either venture capitalists or board members: they represent the money. It's a common misconception that Producers of all stripes are the financiers of films. With rare exception, that's not the case. Executive Producers are the representatives and voice of those that do provide the money: studios and distributors. Every film will usually have several Exec Producers representing the primary studio—who is usually the domestic distributor of the film—the foreign distributor(s), affiliated production companies involved and the ex-wife of the main star's agent (she actually negotiated this credit in the divorce settlement). While this credit is the one most shamelessly given out as a meaningless vanity credit, there has been an effort in recent years to curb the practice.

5. Line Producer—Not the one that cuts the cocaine for all of the other producers, but rather the one that is actually on set, managing the day to day happenings of the film and making sure it runs smoothly. The Line Producer is also known as the Unit Production Manager and, to bend the analogy a little bit, they're kind of like the foreman at a construction site. A good Line Producer is a huge asset and can make the difference in whether or not a film goes over-schedule or over-budget. Fun fact: UPM/Line Producers are the only producers who must belong to a formal union, the Directors Guild of America (there is a Producers Guild, but it's more of a club than a union).