Job Roles

Stunts - A good majority of stunts in the film were vehicle-based stunts.
These are probably most likely to unclude cheaper replicas of the cars involved, as well as stunt drivers and doubles for the cast.
A prime example of this is when Claire drives her car into a river.
The shots are engineered so that we never get a clear shot of Claire from the outside of the car, meaning that the scene can be engineered to keep the cast safe and keep the film consistent.

Unit Production Manager - Also known as a UPM, they are hired by film producers to manage the regulation and production of the film, its costing and budgeting, and to ensure that the film is delivered to the target audience at the expected principal.

Art Director - The art director's job is to supervise and oversee the artists who create individual sets, ideas, concepts or scenes, in order to ensure that the film communicates visually what the director wants, stimulates the correct moods and feelings, and also that it appeals to the target audience.

Set Dressing Buyer - Effectively the same as a set dresser, the set dressing buyer's only additional job is to buy materials and props needed for the set to look realistic and authentic.
Apart from this, a set dressing buyer's job differs in no way from that of a set dresser.

Storyboard artists - Specialising in visualising scenes, storyboard artists are able to convey the director's vision through quick, accurate sketches portraying the idea and how the scene ought to look.

Stedicam Operator - The steadicam operator's job is to maintain a special brand of camera mount that keeps the camera stable, providing for a smooth, flawless shot, even when moving quickly or on uneven surfaces.

Camera Loader - Also known as a Second Assistant Camera, the Camera Loader's job is to load the raw film stock into camera magazines, operate the slate at the beginning of takes and marking the actors as necessary, and generally filling in paperwork for the camera department.

Script Supervisor - Also known as a continuity supervisor, the script supervisor's main function is to maintain the film's internal continuity, and to record the production unit's daily progress in the shooting of the screenplay.

Boom Operator - The primary function of the boom operator is that of microphone placement, usually using a microphone attached to the end of a boom pole (or fishpole), to get a microphone as close to the actor as possible without it getting into the frame.

Cheif Lighting Technician - The head of the electrical team, the cheif lighting technician's job is to oversee the team of technicians involved in rigging stage and location sets, as well as controlling artificial and electrical light techniques.

Rigging Gaffer - The rigging gaffer is in charge of lighting the stage and ensuring the camera rigging is constructed in accordance with the directions of the cinematographer.

Best Boy - Best Boys are usually in charge of the day-to-day operation of the lighting and grip departments, their responsibilities include hiring, scheduling and management of the crew.

Key Grip - The key grip is the head of the grip department along with being the chief rigging technician on the set.