SCROLLX JOURNAL PRODUCTION GUIDES
End Credits Format: Order, Examples and Free Template
Format is how an approved credit list becomes a readable screen sequence: what goes on cards, what rolls, in what order, how it is grouped, typeset, timed and delivered. This guide covers the structure used on most films and shorts, with a department table, a worked example, delivery checks and a free template. It is a practical framework, not legal advice. Contracts, guild agreements and distributor specifications override it.
What are the credits at the end of a movie called?
The credits at the end of a movie are called end credits, closing credits, or the credit roll (also “end titles” in some contracts). In most production and post-production workflows, “end credits” and “closing credits” mean the same final sequence: the approved cast, crew, company, music, acknowledgement and legal credits shown after the program.
You may also see this called the closing credits format, ending credits format or movie ending credits format. The structure is the same: cards, grouping, crawl layout and delivery treatment. For a version written around one wording, see the movie ending credits format page.
Quick answer: use cards for credits that must stand alone, group everyone else by department in a readable crawl, keep type and spacing consistent, and finish with music, acknowledgements, copyright and legal lines.
Format vs order: what is the difference?
Order is the sequence of credits. Format includes order plus cards, grouping, crawl layout, typography, pacing and delivery treatment. Settle the order first with the film credits order guide, then use this page to decide how that order appears on screen.
End credits format at a glance
| Part | What it contains | Format notes |
|---|---|---|
| 1. Pre-crawl cards | Top-billed cast, director, principal producers, any contractual single cards | One credit or a small group per card. Confirm which credits must stay separate before designing the roll. |
| 2. Transition | The move from cards into the main roll | Decide whether the roll starts offscreen, over picture or from a clean background. |
| 3. Cast | Full cast, usually with character names | Follow approved billing. See the cast section below. |
| 4. Crew by department | Production, camera, art, costume, sound and other departments | Department headings, consistent role-and-name treatment, lead roles before supporting roles. |
| 5. Post-production | Editorial, VFX, sound, color, mastering, facilities | Often its own block near the end of the crew section. |
| 6. Music | Track titles, writers, performers, publishers, labels | Wording follows each licence. |
| 7. Thanks and acknowledgements | Locations, suppliers, funders, special thanks | Only approved lines. |
| 8. Legal and logos | Copyright line, disclaimers, company and required logos | Legal text comes from the production’s legal or clearance contact. |
Pre-crawl cards vs the main crawl
Cards hold one credit or a small group on screen, usually for top billing, key creatives or contractual requirements. The main crawl carries the longer department sequence. Use a card when a credit must stand alone or have a set position. Use the crawl for everything that is simply listed.
Decide cards early. They change the runtime, the transition into the roll and what the crawl has to carry. Record any shared-card and logo requirements in the same approval sheet as the names.
Cast and key creatives
Use the approved billing block and cast list as the source of truth. Do not infer cast order from shooting schedules or call sheets. The three common approaches are:
- Billing order: the order set by agreements. This is the only safe choice when billing was negotiated.
- Order of appearance: roles listed as they appear in the film, usually with the character name beside the actor.
- Alphabetical: acceptable only when the approved billing allows it, often for ensemble casts or unpaid productions.
Pick one format for the line (for example “Actor Name … Character” or “Character — Actor Name”) and apply it to every row. Director, producers, writers and other key creatives may have individually negotiated placement.
Department-by-department structure
Group related roles so viewers can scan the roll. The table shows a common working sequence. The exact order varies by production, country, contract and distributor, so treat it as a starting point.
| Department | Typical credits | Note |
|---|---|---|
| Casting, stunts | Casting director, stunt coordinator, stunt performers, stand-ins | Sometimes follows the cast list. |
| Direction and production management | Unit production manager, first and second assistant director, production coordinator | Names vary by production size. |
| Camera | Director of photography, camera operator, first and second assistant camera, DIT | Lead roles first. |
| Grip and electric | Key grip, gaffer, best boy and crew | Often presented as separate blocks. |
| Art department | Production designer, art director, set decorator, props | Set decoration and props may sit beside it. |
| Costume, hair and makeup | Costume designer, wardrobe, hair and makeup designers, prosthetics | May be one block on small films. |
| Sound (production) | Production sound mixer, boom operator | Sound post usually appears in the post block. |
| Locations and unit | Location manager, transport, catering, medics, security | Unit support is often grouped. |
| Editorial and post | Editor, assistant editor, post supervisor, colorist, VFX supervisor | Facilities and vendors usually close the block. |
| Music | Composer, music supervisor, licensed tracks | Licence wording applies. |
| Facilities and services | Post house, labs, equipment suppliers | Only approved names. |
Within each department, lead roles normally come before supporting roles. Use the department’s approved list rather than assumptions. For a sequence with project variations, see Film Credits Order.
Music, legal, logos and acknowledgements
Music. A common pattern lists the track title, then writers, performers, publishers and label, with any “courtesy of” or licence text exactly as the licensor requires. Always copy the wording from the licence, not from memory.
Acknowledgements. Thanks, funders, locations and suppliers should be approved lines from the production, not assembled from emails.
Legal and logos. Close with the copyright line, any required disclaimers and approved logos. Some agreements require specific acknowledgement text or logos in the credits. Check each agreement attached to your production and add them to the approval sheet.
Guild and contract rules to check
These examples show why the production’s agreements outrank any general guide. They are not a complete list and may change, so check the current source before locking a roll.
- Writers Guild of America (WGA). In end titles, the “Screenplay by” credit always comes before the “Story by” credit, and they may share a card or use separate cards. In main titles, the writing credit generally must be on its own card, directly next to the director’s credit, and it must appear in the main titles if any personal names appear there. Source: WGA Theatrical Credits Procedures Guide.
- Directors Guild of America (DGA). The director’s credit on screen and in paid advertising must read “Directed by”. “Film by” style possessory credits are negotiated individually, and the DGA states that a possessory credit may not be given to a director on a first feature unless specific conditions are met. Source: DGA Credits.
- Other agreements. Performer, crew, distributor and funder agreements can require specific credit wording, logos or placement. Ask the production to list them.
This guide is a production checklist, not legal advice. When in doubt, ask the production’s legal contact or the relevant guild credits department.
Worked film example
A clean sequence might use cards for the lead cast, director and principal producers, move into cast and crew departments, then close with post, music, facilities, thanks, legal lines and logos. The fictional example below shows the layout. The annotated short-film example shows how that logic translates to a real roll.
Your names. Your film. Your credits.
Import your names, customize the layout, and preview your end credits in ScrollX.
End credits examples to copy from
An end credits example is most useful when it shows the whole sequence: cards first, then cast, department blocks, music, thanks and legal lines. A movie credits example for a feature follows the same pattern as a short or a documentary, with different cards and shorter department blocks. See the ending credits sample, the annotated short film end credits example and the documentary credits example to compare how each type is laid out. Use them as a layout reference only, and take names, billing and legal text from your own approved list.
Short film, documentary and TV differences
| Project type | What changes |
|---|---|
| Feature film | Full department crawl, more cards, music and legal blocks, distributor-supplied logos. |
| Short film | Fewer cards, combined departments, and often a “special thanks” and festival or funder block. See the short film end credits guide. |
| Documentary | Emphasis on contributors, researchers, archives, field production, translators and source acknowledgements. See the documentary credits example. |
| TV episode | Series and network wording, standing credits, and fixed formats that repeat each episode. Follow the broadcaster’s spec. |
| Web or music video | Short rolls or cards, often with artist, label and director only. |
Readability and delivery specs
- Check type size, contrast, line spacing and safe margins against the delivery specification, not a general rule.
- Test the longest name and the longest role title before you lock the layout.
- Preview the complete motion, not only still frames, and judge speed by having someone who has not seen the list read a few lines.
- Confirm resolution, aspect ratio, frame rate and duration.
- Watch for shimmer, judder or uneven motion after render.
- Review the final master, not only the source layout.
Common end credits format mistakes
- Reordering negotiated billing for visual neatness.
- Mixing two cast line formats in the same roll.
- Using tabs, spaces and manual line breaks as layout, which collapse after a revision.
- Copying music wording from memory instead of the licence.
- Adding late names without re-checking duration and speed.
- Judging readability on a small preview rather than the delivery format.
- Letting several people edit different versions of the list.
- Skipping a final watch-through of the exported master.
Final approval checklist
- Lock the approved credit sheet and version number.
- Confirm contracts, billing and required legal or guild wording.
- Proof every name and role against the source, including spelling and diacritics.
- Review cards, department order and logos.
- Check music lines against each licence.
- Test the longest names and roles in the layout.
- Watch the full roll at delivery settings.
- Archive the approved source and the exported version.
Free template and generator
Collect the source list with the free end credits template, apply the format in Premiere Pro, or create and revise the finished sequence in the ScrollX generator. For a dedicated moving-credit workflow that controls pacing, revisions and repeat exports, use the rolling credits generator.
Prepare your cast and crew list with the film credit sheet generator before applying the format to your final credits.
Frequently asked questions
What is the difference between format and order?
Order is the sequence of credits. Format includes order plus cards, crawl layout, typography, pacing and delivery treatment.
Is there one required department order?
No. Contracts, guild rules, distributor requirements and negotiated billing can override common conventions.
What goes first in the end credits?
Usually the cards for top billing, director and principal producers, followed by cast, then crew by department. The exact order depends on the agreements attached to the film.
How long should end credits be?
There is no standard length. Duration follows the size of the list, the number of cards and the reading speed you can sustain. Review the roll at normal speed and adjust.
Should the cast be listed alphabetically?
Only if the approved billing allows it. Negotiated billing takes precedence.
Who should review the final credits?
The production should name an approval owner who coordinates producer, talent, department, music and legal sign-off.
What is the closing credits format?
Closing credits format is another name for the end credits format: how the approved list becomes cards and a crawl, in what grouping, and how it is typeset and delivered. In most workflows closing credits and end credits mean the same sequence.
Is the movie ending credits format different from the end credits format?
Not in structure. Both describe cards, a department crawl, music, thanks and legal lines. Wording varies by team and region. Contracts and distributor specifications decide the final details.
Where can I see an end credits example or a movie credits example?
Compare the ending credits sample, the short film end credits example and the documentary credits example. They show cards, department blocks and closing lines side by side.
FROM CREDIT LIST TO FINAL FRAME
The final frame deserves
the same care as the first.
Keep names organized in your spreadsheet. Use ScrollX to turn the approved list into a consistent end-credit sequence.