WHAT DOES A PROP TECHNICIAN / MAKER DO? (In the Entertainment industry. What Does A What does a Prop Technician / Maker Do?)

Built props War Craft Movie / Photo Credit: Blizz Plant - War Craft Movie

WHAT DOES A PROP TECHNICIAN / MAKER DO? (In the Entertainment industry. What Does A What does a Prop Technician / Maker Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Prop Technician / Maker Do?

An individual in the props department is part artist and part technician; this job requires the creative talent of a painter and the mechanical know-how of a carpenter. The props tech / maker is a treasure-hunter and master craftsman who applies considerable skills to the visual interest of a play, film, or television show. Prop makers might make anything from fake jeweler to replica weapons and moving models. They work with a broad range of materials, including metal, latex, fiberglass, wood and textiles. Tech / prop makers use a range of different skills to create props, such as carpentry, sculpting, casting, sewing, painting, welding and computer-aided design.

On larger productions, typically in film and TV, this role would work closely with a team including production designers, set designers, set builders, wardrobe and costume staff.

On smaller productions, often in theatre, prop makers may be responsible for set building and costume work as well as making props.

Duties

Props technicians work under the direction of the prop master and are responsible for crafting the various objects (“properties”) the cast interacts with: anything from baskets and bowls to an authentic reproduction of a Ming vase. The first step in pre-production is to read the script to understand and identify the needs of each prop; will this object be carelessly heaved across the stage eight shows per week, or must it be designed to humorously fail on cue, much to the character’s dismay? The crew of technicians meets with the department head to discuss the director’s aesthetic vision and requirements, then brainstorm and coordinate research.

For period shows or uncommon items, technicians scour books and Internet sites for examples of real-world objects. The typical prop shop is adorned with clippings and photographs for inspiration that have accumulated over time. With color swatches and pictures in hand, the artists get to work sculpting, painting, and constructing each prop. These individuals employ numerous materials and techniques to construct lighter, cheaper analogues of weapons, pottery, and everything in between. When possible, some properties are purchased; crewmembers and dedicated prop buyers hit up antique shops, thrift stores, and prop rental houses for ordinary or bizarre odds and ends.

During the run of a stage play, these technicians may be asked to work backstage setting props, performing scene changes, and operating certain special effects or gags. The props technician is also responsible for repair, maintenance, and storage of all department inventories. During principal photography of a film, however, props become the charge of the on set dresser.

Skills & Education

A formal education in fine art is not required to work as a props technician, though training is recommended. Artistic talent and practical skill in painting, carpentry, and sculpting are expected of every professional in this career field. Experience working with materials like foam, latex, metal, and fiberglass is valuable, as is the safe use of shop and hand tools. A college degree in fine arts or theatrical production is applicable to this role. Many technicians learn the trade by studying with a mentor working in the industry. A good props person should be generally handy with tools, crafty and capable of translating an abstract idea to finished product. Education in world cultures, art history, and literature is also useful when researching for period productions.

What to Expect

Every good propmaker should have a toolbox stocked with wrenches, chisels, screwdrivers, and saws. For working members of IATSE (International Alliance of Theatrical Stage Employees) this is mandatory. A personal arsenal of creative techniques for mimicking wood grain on plaster or distressing fabric is picked up along the way, and makes you a more well-rounded and valued artist on the crew. Like a Foley artist, every props technician has a different means of creating a similar product; learn from those around you and always be on the lookout for something new. This job can be dirty, exhausting, and creatively fulfilling. Someone who is flexible, personable, and an excellent collaborator will do well in this role. An experienced props technician with proven talent can progress toward a career as a prop master and ultimately to the role of artistic director. This field is also able to transition into set construction and special effects.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION. 

Built props War Craft Movie / Photo Credit: Blizz Plant - War Craft Movie

WHAT DOES A PROPERTY MASTER (PROP MASTER) DO?… (In the Entertainment industry. What does a Property Master do?)

Prop Cave / Photo Credit: Tested - Peter Jackson

WHAT DOES A PROPERTY MASTER (PROP MASTER) DO?… (In the Entertainment industry. What does a Property Master do?)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What does a Property Master (Prop Master) do?

The property master on a film or television production is responsible for all objects handled by the actors during a scene. This includes food, weapons, household items, office supplies, and intergalactic communication devices.

The property master, often called the prop(s) master, is an artistic and organizational employee in a film, television or theatrical production who is responsible for purchasing, acquiring, manufacturing, properly placing, and/or overseeing any props needed for a production. The property master also works with other members of the production managing the physical appearance of the stage or set, for example they might work with the script supervisor to maintain set continuity. The property master is on staff during preproduction, develops the stylistic concept of the physical production, and then continues on as a member of the physical shooting/production crew. A person responsible for purchasing the props can be called a props buyer or production buyer.

During preproduction, the props master develops a props breakdown. This is essentially mapping out the logical progression of each prop throughout the story. During shooting, the props master maintains the logical progression by ensuring the props are positioned in their correct logical place for each scene according to the props breakdown. If the logical progression of a prop changes during shooting, the props breakdown is revised to reflect the change.

This job description varies somewhat from country to country. In the United States, food styling, weapons and animals are often directly or indirectly within the property master's domain.

The job is a collaboration with the director, production designer, cameraman, set decorator and other members of the production to physically express their stylistic and aesthetic requirements. They maintain their own budget. There are physical aspects of productions that are managed by specialists other than the property master, for example costume designers are responsible for the actors' dress, and weapons masters are responsible for any weapons (firearms, blades, staff-based or otherwise).

In professional theatre the property master is responsible for the set up and organization of the props. Property master is directed by the director.

Duties

Under the supervision of the director, art director, and production designer, the property master is tasked with the design, fabrication, and acquisition of props, and with leading the crew of the property department. Work begins during pre-production, when he or she receives the script. Each scene is broken down to identify necessary items; research is conducted into the period of the story, the locations, cultures, and genre; and the property master designates which props can be rented or purchased and which must be specially fabricated. Next he or she oversees the creation and collection of all items; depending on the size of the production, a property buyer may be hired to assist in purchasing or renting items. The property master will participate in preliminary design meetings with the director, costume designer, and other creative department heads to establish the aesthetic of the production and ensure a cohesive look throughout the entirety of the movie, show, commercial, or music video. This person is also responsible for establishing the department budget and monitoring inventory.

While on set during principal photography, the property master and assistant property master direct the department crew in staging props (laying out items in preparation for a scene) and distributing props to the cast. After each take, the crew must strike the props and reset for another take or move on to the next setup. For continuity, the property master or assistant will take Polaroid or digital photos of each scene and the items’ placement, coordinating with the script supervisor for the purposes of pickup shots and editing. Photos are also kept to maintain inventory records and quickly identify each piece assigned to the production. When the project is wrapped, the property master is tasked with ensuring that all props are accounted for and returned and that the department budget is reconciled, then turns over all receipts and payroll information to the line producer or unit production manager.

Skills & Education

A college degree or equivalent professional experience is required for this senior-level position. Formal education in film and television production or theatrical design is recommended. Training in fine art (drawing, painting, and sculpture) and carpentry is necessary; when the director comes to you with a concept for a lawn mower that can chop bricks, it is your job to make it work. You must be skilled in multiple faux-finish techniques, as well as the use of materials like plaster, foam, latex, papier-mâché, and fiberglass. Often the property master is also responsible for creating and operating special effects, so knowledge of mechanical engineering is beneficial.

What to Expect

Property masters come from a variety of artistic backgrounds, sometimes starting out as sculptors, carpenters, or painters. Many begin their careers as students in local theater before progressing into independent films and major studio productions. You can gain experience as a technician on the props crew or in another craft associated with film and television production. Once you’ve reached the senior level in the props department, your job is primarily concerned with organization and management of personnel. This is a creative field with a major focus on design, but the property master is tasked with tracking hundreds or thousands of individual items used on set; this demands someone who is obsessive about details and able to efficiently multitask under a deadline.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Prop Cave / Photo Credit: Tested - Peter Jackson

WHAT DOES A PROP BUYER DO? (In the Entertainment industry. What Does A What does a Prop Buyer Do?)

Prop Buyer - Fake Weapon props / Photo Credit: Premium Beat

WHAT DOES A PROP BUYER DO? (In the Entertainment industry. What Does A What does a Prop Buyer Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Prop Buyer Do?

Production Buyers usually start work two weeks after the Set Decorator is hired. They mark up (make notes on) the script and make a list of all the props needed. There are two types of props: action props, which are described in the shooting script; and dressing props, which give a certain atmosphere and sense of period to a place or set. After this list has been checked with the Set Decorator, they both visit or contact various prop houses to make provisional bookings.

Once the schedule is fixed, Production Buyers begin an intense period of work preparing orders for thousands of props, working out dates and durations of hire to minimize costs, and confirming collection and return dates with the Props Master.

Using Excel spreadsheets, Production Buyers produce weekly budgets for the Production Accountant so that all spending can be closely monitored.

On low to moderate budget period dramas where no Assistant Set Decorator is employed, Production Buyers may also help with some Art Department research. Using books, magazines and the internet they help the Set Decorator choose suitable props.

While sets are being decorated, Production Buyers work at the studio or on location, helping with any last-minute requests from the Set Decorator, using their expert knowledge of suppliers and hire companies to find specific items.

Throughout the shoot, Production Buyers continue to source any other props needed and oversee all collections and returns. They are also responsible for the Art Department petty cash, which must be carefully monitored and reconciled at the end of each production.

Production Buyers work on a freelance basis, usually on both television and film productions. The hours are long and the job can involve long periods working away from home.

Duties

As a member of the props team within the art department, the prop buyer is responsible for sourcing props for a feature film or television production. In conjunction with that task, this person is also charged with maintaining records concerning rental agreements and invoices. Under the supervision of the property master during pre-production, he or she will review the script breakdown and list of required props. When necessary, the buyer will perform research to ensure that props meet the historical context or time period of the story. Oftentimes, this person will seek out photographic or illustrated references from the production designer or art director before selecting props.

In sourcing items for the production, the prop buyer can generally fulfill the majority of his or her list at a prop rental house or from the production studio’s on-site warehouse. In the event that a particular item is rare or otherwise hard to find, he or she may resort to consignment shops, online re-sellers, or seeking out a private owner. For those items, which are too costly or too specialized to rent or buy, the art department will be commissioned to fabricate original props.

Options are key when sifting through props. Rather than gathering one of each item on the list, the prop buyer will usually set aside several variations—think dinnerware in five different patterns or colors. It will be left up to the property master and director to make the final call. While the production designer might have envisioned a stark-white place setting, on set, the director may see the lighting and decide a splash of color is necessary.

Skills & Education

There is no standard training for this position, but a prop buyer is greatly benefited by an education in film and television production, theatrical design, or art history; coursework in basic accounting and asset management may also be helpful. Previous employment in one or more areas of a production art department is required. The person in this role should have excellent organizational skills and a keen attention to detail. Also crucial is the ability to methodically maintain strict schedules and budgets involving large inventories.

What to Expect

The role of the prop buyer is typically a freelance position. Those working in the field may come to the role from within the art department as a props technician, production assistant, or set dresser. A great deal of trust is placed in the prop buyer’s ability to be discerning and selective. Yes, options are highly desirable, but it isn’t practical to clear out the entire prop warehouse and haul it to the set. Instead, the prop buyer makes careful choices about which items should be brought in bulk. Anyone can go on a shopping trip and come back with three of everything. The art department relies on a prop buyer to make the first edit and consider the aesthetic and practical needs of the production when choosing props.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION. 

Prop Buyer - Fake Weapon props / Photo Credit: Premium Beat

WHAT DOES A PRODUCTION SOUND MIXER DO? (In the Entertainment industry. What Does A What does a Production Sound Mixer Do?)

Production Sound Checklist / Photo Credit: Premium Beat

WHAT DOES A PRODUCTION SOUND MIXER DO? (In the Entertainment industry. What Does A What does a Production Sound Mixer Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Production Sound Mixer Do?

Job titles vary according to the industry and can include sound assistant, sound recordist and sound supervisor.

Within film, specialist roles are available such as dialogue editor, dubbing mixer, production mixer and Foley artist.

Since The Jazz Singer first combined a synchronized instrumental score, spoken dialogue, and sound effects in 1927, audio has been an essential creative component to film and television production. Can you imagine Star Wars or Saving Private Ryan without sound? Behind all of the music, noise, and laughter that enhances the images on screen is the production sound mixer.

As a sound technician, it's your responsibility to assemble, operate and maintain the technical equipment used to record, amplify, enhance, mix or reproduce sound. You'll identify the sound requirements for a given task or situation and perform the appropriate actions to produce this sound.

Duties

The production sound mixer is the head of the sound department on set, and is brought in during pre-production to collaborate with the director and production manager to choose what type of microphones to use and select additional audio gear. This person may also give input on crew members to fill additional audio roles, like sound assistant, equipment technician, boom operator or cable runner.

During principal photography, the production sound mixer’s responsibilities are extensive. They include recording all sound on set: dialogue, sound effects, wild lines, live music, and room tone. He or she is also charged with maintaining log sheets for each roll of tape (or digitally formatted unit) recorded and marking printed takes, in conjunction with the camera assistant and script supervisor. The production sound mixer must make script notes to be used in case of reshooting (for continuity) and keep lists of wild tracks and sound effects that will be recorded later. This person will also direct the boom operator and design the placement of microphones and recording techniques for each shot—and keep an eye out for the dreaded boom shadow.

Sound technicians are required in a range of industries including:

• Advertising…
• Audio recordings…
• Broadcasting (radio or television)…
• Film…
• Live performance (theatre, music, and dance)… 

Responsibilities

Your responsibilities will vary depending on whether you work in such as production - the recording of all sound on set or on location or post-production - the balancing, mixing, editing and enhancing of pre-recorded audio.

Working in production, you'll need to:

• Assess the acoustics of the performance area and assemble and operate the necessary equipment…
• Consult with producers and performers to determine the sound requirements…
• Select, position, adjust and operate the equipment used for amplification and recording…
• Apply technical knowledge of sound recording equipment to achieve the determined artistic objectives…
• Record sound onto digital audio tape or hard disk recorders…
• Monitor audio signals to detect sound-quality deviations or malfunctions…
• Anticipate and correct any problems…
• Maintain and repair sound equipment… 

Working in post-production, you'll need to:

• Integrate (synchronize) pre-recorded audio (dialogue, sound effects and music) with visual content…
• Re-record and synchronize audio (post-synching)…
• Mix and balance speech, effects and music…
• Create and alter sound effects for use in films, television, etc... 

Skills & Education

College coursework in film and television production, recording arts, and communications are recommended but not required. Classes in these subjects can introduce you to the production process and give you hands-on experience in the use of sound equipment (microphones, mixing consoles) along with the required theoretical knowledge. To succeed in this role you must be a strong communicator and effective delegator, as well as having a highly trained ear. Work as a production assistant can get your foot in the door, and from there experience as a boom operator or sound assistant can lead to a gig as a production sound mixer.

What to Expect

In this role you are ultimately responsible for the sound of the show or film. Getting the recording right the first time is important, because each scene or line which has to be dubbed later pushes up the project’s budget and deadline. A sound mixer who is consistent and reliable is a valuable asset to any crew. This is also a highly creative career that allows for experimentation in recording techniques and innovation in sound design. It will take time and experience to work your way up to the level of sound mixer, but from there you can move on to roles on larger projects, cross over into sound editing, or work as a sound designer.

For large scale operations, such as film productions, you're usually required to work within sound teams. There are often separate sound teams for production and post-production. The job of a sound team is essentially to follow or interpret the instructions of the director, sound designer or sound supervisor.

A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.

Usually, the recordist will arrive on location with his/her own equipment, which normally includes microphones, radio systems, booms, mixing desk, audio storage, headphones, cables, tools, and a paper or computer sound logs. The recordist may be asked to capture a wide variety of wild sound on location, and must also consider the format of the finished product (mono, stereo or multi channels). The recorded production sound track is later combined with other elements, i.e. effects, music, narration, foley or re-recorded dialog by automatic dialogue replacement (ADR).

Often, when taping on video, the sound recordist may record (single system) audio directly onto the camera rather than use a separate medium (double system), although a separate copy is often made, as it both provides an extra copy which may have more tracks and also may include other sound captured without the camera.

The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound including the hiring of a boom operator and utility sound technician, planning the technical setup involving sound including both sound equipment and ancillary devices involved in syncing and time offsets, anticipating and discussing sound-related problems with the rest of the crew, and ordering and preparing the sound equipment to be used on the set.

You can get involved in projects such as doing the rigging and sound for amateur theatre or local musicians. Anything that helps to create contacts in the industry will be useful.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, 

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION. 

Production Sound Checklist / Photo Credit: Premium Beat

WHAT DOES A PRODUCTION DESIGNER DO? (In the Entertainment industry. What Does A What does a Production Designer Do?)

 Production Design / Photo Credit: Stan Winston School - YouTube

WHAT DOES A PRODUCTION DESIGNER DO? (In the Entertainment industry. What Does A What does a Production Designer Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Production Designer Do?

Production Designers are major heads of department on film crews, and are responsible for the entire art department.

The production designer collaborates with the director and the cinematographer to establish the look of a film or television production. Every story is intended to leave the audience with a particular emotion, and the design of the set and scenery is just as vital in that mission as an actor’s portrayal of a character and the music that plays under the images on screen.

They are responsible for the visual concept of a film, television or theatre production. They identify a design style for sets, locations, graphics, props, lighting, camera angles and costumes, while working closely with the director and producer. They help Directors to define and achieve the look and feel of a film.

Filming locations may range from a Victorian parlor, to a late-night café, to the interior of an alien space ship. The look of a set or location is vital in drawing the audience into the story and making a film convincing. A great deal of work and imagination goes into constructing the backdrop to any story and choosing or building locations and/or sets.

Production Designers begin work at the very early stages of pre-production. They may be asked to look at scripts to provide spending estimates before a Director is even approached. On first reading a screenplay, they assess the visual qualities that will help to create atmosphere and bring the story to life.

After preparing a careful breakdown of the script they meet with the Director to discuss how best to shoot the film and work out whether to use sets and/or locations, what should be built and what should be adapted and whether there is a visual theme that recurs throughout the film.

They also consider whether there are design elements that may give more depth to the film and whether CGI (computer generated imagery) should be used.

Designers must calculate the budgets and decide how the money and effort will be spent. Then there’s an intense period of research during which they and their Specialist Researchers source ideas from books, photographs, paintings, the internet, etc.

Production Designers deliver their design sketches (showing mood, atmosphere, lighting, composition, color and texture) to Art Directors who oversee the production of technical drawings and models, which are used by the Construction Department to build the sets and adapt locations. Props Buyers and Set Decorators source props and organize the manufacture of specialist items.

As the start of shooting approaches, Production Designers manage lots of people, prioritize the work schedule and carefully monitor the budget. When shooting starts, they are usually up early each morning to view each new set with the Director, Director of Photography and Standby Art Director, answering any requests or queries.

Later on in the art department office, Production Designers check on the construction and dressing of other sets, and sign off on sets/locations for the next day's shoot.

Although Production Designers usually finish work on the last day of principal photography, on larger films they may be involved for longer periods. Production Designers work on a freelance basis.

They may have to prepare detailed drawings and specifications in order to pitch for work on a number of productions before being offered work on one of them. Although the work can be very demanding and the hours long, this is one of the most highly-skilled, creatively fulfilling roles within the film industry.

Duties

In the preproduction stage the production designer produces a portfolio of sketches and models that serve to illustrate his or her vision for each set and location. These are a guide for the location scout, set decorator, props master, construction crew, scenics, and greensmen. This person will outline a color palette, period, textures, and tone for all of these artists to reference when pulling together the aesthetic of a movie or TV show. Working closely with the producer, the production designer narrows down a list of shooting locations for the approval of the director and also participates in setting the production’s budget. He or she may also be given the authority to select his or her own art director, set designer, and other art department heads.

During principal photography, the production designer is a coordinator who is charged with maintaining the overall aesthetic vision. This person influences decisions on lighting, wardrobe, hair and make-up, and special effects. He or she is also involved in post-production, advising the artists to ensure that computer-generated material matches and maintains the physical photography’s look and feel.

Skills & Education

A successful production designer will be artistically talented, resourceful, and an untamed dreamer—imagination is a prerequisite, and the ability to make dreams tangible is a requirement. A college degree is not required, but an education in film and television production, theater, or fine art is preferred. The production designer should have considerable skills in drawing and painting; sculpting and computer modeling are also helpful to presenting your vision. You should understand color theory and lighting, and how these elements affect photography. Courses in art history, architecture, and world cultures are also useful, as the production designer is tasked sometimes with creating realistic representations of ancient societies, sometimes with imagining vast foreign lands.

What to Expect

There is a great deal of artistic freedom in this job, but that freedom is constrained to the extent that the director and producer will let you roam. A production designer who can cooperate effectively, compromise when necessary, and show respect for the ideas and input of others will be go far. Film and television production is a business of collaboration—if you can’t play nice, you won’t work. Production designers can expand their careers to work in theater, concert production, theme parks, and other live entertainment. Extensive experience as an art director and assistant art director can lead to advancement to the role of production designer. To pave your path to this gig, take any job you can get in the art department of a student film, independent project, or theatrical play, then take focused steps to move up the ladder. IATSE Local 800 represents production designers and other related artists.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.   

 Production Design / Photo Credit: Stan Winston School - YouTube

WHAT DOES A PRODUCTION ASSISTANT DO? (In the Entertainment industry. What Does A What does a Production Assistant Do?)

Film Production Assistant / Photo Credit: All Events

WHAT DOES A PRODUCTION ASSISTANT DO? (In the Entertainment industry. What Does A What does a Production Assistant Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Production Assistant Do?

The production assistant or PA position is an entry-level opening on a film or television set. The production assistant does just about anything and everything, from getting coffee to making script copies to shuttling crew or equipment around town as necessary.

A film's production assistant (PA) provides support to crews while a movie is being made. Some film PAs specialize in certain areas, such as art or wardrobe, and they may work on the set or behind the scenes. While this position does not require any formal education, PAs must be willing to work irregular hours, including early mornings, late evenings and weekends.

Film PAs who work in the art department may assist with building props and sets. They could also have administrative duties, such as light office work or running errands. Those who work in the costume and wardrobe department assist with labeling, collecting and organizing wardrobes. They may also be in charge of laundering and ironing.

Set PAs have numerous job duties--such as escorting actors and actresses to and from their trailers, helping with crowd control and lockup, giving out schedules or scripts, collecting paperwork, delivering film to various locations and managing extras. PAs in the transportation department may also be responsible for driving crewmembers and package pick-up and delivery.

Location PAs are in charge of creating and distributing maps, delivering contracts, film clean-up, photographing locations and putting up signs. Production office PAs duties include filing, answering phones and making photocopies.

A job as a production assistant is the unofficial training program of the film and television industry. It doesn’t matter if your true aspiration is to be a director, audio engineer, or make-up artist; working as a PA is where you learn firsthand about life on a professional set and make the contacts to launch your career.

Duties

There is no such thing as a typical day at the office for a production assistant. By nature, the PA is a flexible catchall person for any miscellaneous task. A production office PA will answer phones, make copies of scripts, run errands, and do any other administrative task the staff requires. A set PA will help the assistant director by corralling extras, directing traffic, and escorting actors to and from the set—or fetching snacks from the craft services table. There are also opportunities to work full-time at news stations like CNN or MSNBC, where the PA might log tapes, sort through press releases, and even Tweet about the next broadcast. A production assistant does not operate camera, lighting or audio equipment; instead, the PA will grab an apple box for the electrician to set a C-stand on, or help keep the set quiet while the boom operator records ambient noise. The PA’s job isn’t glamorous, but the experience of being on set or working in a production office is an invaluable tool to the individual who wants to advance in the film and television industry.

Skills & Education

This is an entry-level position, and as such there are few educational requirements. A college degree in film and television production is useful, but not necessary. For a gig as a PA, a film/television degree demonstrates to the person reading your résumé that you understand the process of production and have a basic skill level for working on set. Survivor or Transformers 3 will require more experience as a PA than a pilot for a new show or a music video; as you build skills, you can work your way up into larger productions. The most important skills a PA must have are attention to detail, a “get it done” work ethic, the ability to follow directions, and a willingness to take orders. You should be organized, polite, and know how to anticipate needs on set before they arise.

What to Expect

The truth is that the production assistant gets the tasks that no one else on set wants. It isn’t uncommon to empty trash cans or bring lunch to the second unit who is running over schedule on location. Yes, production assistants also get coffee, sparkling water, and Diet Cokes for the leading man. Work as a PA is like boot camp for the entertainment business. If you can do this job well, you have proven you have what it takes to move up the ladder. Be proactive; pass out bottles of water to the crew; be standing by with towels when the director calls “cut” on a pool scene. Going the extra mile to find tasks before you’re asked to do them will impress the people around you. Remember that there are always hundreds of people in line waiting to take your gig. Finding ways to help out and make the crew’s jobs easier will catapult you from nameless face to go-to person. The PA’s name that gets called out most often is the one who will be on the next shoot. A good attitude will get noticed, so be respectful and show that you want to be there.

After you have developed good relationships through your experience as a PA, this position can be a launching pad toward any mid-level position in film and television. Traditionally the next step up is as a production coordinator, but if your interests are in camera work or lighting, you can go after work as a camera assistant, electrician or grip. A good PA can also work toward entrance into the DGA (Director’s Guild of America) training program through recommendation by the production manager.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.    

Film Production Assistant / Photo Credit: All Events

WHAT DOES A PREVIS SUPERVISOR DO? (In the Entertainment industry. What Does A What does a Previs Supervisor Do?)

Pacific Rim / Photo Credit: Warner Bros - The Art of VFX - Aaron Weintraub - Craig Calvert

WHAT DOES A PREVIS SUPERVISOR DO? (In the Entertainment industry. What Does A What does a Previs Supervisor Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Previs Supervisor Do?

Previsualization is a process used in feature filmmaking and television production to plan out complex visual effects sequences during the pre-production phase; this enables the director and cinematographer to see rough animatics of their shots in a fast and inexpensive manner before committing time, crew, and resources to filming.

The Previs Supervisor is responsible for the creative direction of previsualization projects. They collaborate with the film's Director and VFX Supervisor to help visually conceptualize the film. Supervisors act as the key client contact on shows they are assigned to.

Duties

The previs supervisor is a member of the visual effects team and responsible for overseeing the production of previsualization animatics. Leading a team of artists specializing in the craft, he or she collaborates closely with the director and visual effects supervisor to break down the script and determine the sequence of shots necessary to portray the written scene. In some cases, animatics will begin as storyboards created by the director or other senior designer on the project. The supervisor will then communicate to the rest of the previs team their specific tasks, which include environment modeling, character modeling, and animation.

Previs animatics are rough animations that are intended only to illustrate camera angles and other technical aspects of a scene; they will not be used in the final edit. Instead, animatics serve as motion storyboards that communicate the director’s vision and inspire the technical crew during principal photography. The supervisor will guide the artists on his or her team to accurately portray the constraints of the environment, character blocking, and virtual camera angles. It is his or her responsibility to see to it that the animatics are delivered on schedule and to the specifications of the director.

Skills & Education

A strong background in computer animation and visual effects design is necessary for a career as a previs supervisor. A college degree in computer animation or related field is recommended, as it provides a thorough understanding of the artistic techniques, as well as the technical mastery of industry standard software. Additionally, courses in cinematography and video editing are valuable in providing an appreciation for the technical constraints of live-action filming. Artistically, this position demands an individual that understands the natural and fluid movement of animation; the constructs of lifelike lighting conditions; and proper aesthetic framing of images.

What to Expect

A Previs supervisor must first establish proven skill in an entry-level role within a visual effects studio; such careers include compositing, match moving, animation, lighting, and character modeling. With professional experience and proven talent, an artist may seek advancement to the lead artist level and then as a supervisor. While closely related to feature animation or visual effects, previsualization adheres to its own conventions of style and process. Because animatics should be short and require less time and resources to produce, previs works under much tighter deadlines. Depending on the project volume of the studio, the previs supervisor may oversee more than one project at a time and have a high rate of annual turnover. This role is typically a fulltime position. Employment opportunities exist within visual effects studios, as well as agencies that specialize in media marketing and short-format production.

Skills & Education

Employment as a previs artist requires proven skill in digital art and animation, including experience in modeling, rigging, and character animation. Experience in the use of software applications like Maya is necessary. Furthermore, previs artists must have a thorough knowledge of filmmaking principles such as cinematography, continuity editing, blocking, and scene staging. In working specifically with directors and cinematographers, artists must demonstrate an understanding of camera specifications, film terminology, and the conventions of storytelling. A college degree in computer animation or film and television production is beneficial, as it provides the technical and theoretical education necessary in this career.

What to Expect

Previsualization artists may find fulltime employment within a visual effects studio or digital marketing and advertising firm that specializes in theatrical trailers, title sequences, commercials, and other short-format productions. On the job, artists can expect a heavy project volume with shorter deadlines, leading to higher turnover. Because animatic are intended to be produced cheaply (in relative terms) and quickly, a previs artist may only spend a matter of weeks on an assignment, as opposed to months or years.

Individuals who prefer to spend an intensive year perfecting the finer details of a single visual effects sequence would be better suited to find work in post-production. Previs artists are more concerned with accuracy and effectiveness than aesthetic refinement. It is also important to note that movie-going audiences will never see the work contributed to the film’s early days during pre-production. Previs artists will still get a credit on the film, but they will only have memories (and maybe a DVD extra) to look back on after the project is over. On the upside, artists have the opportunity to work closely with directors and production designers during the crucial phase that will map the entire production process.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION. 

Pacific Rim / Photo Credit: Warner Bros - The Art of VFX - Aaron Weintraub - Craig Calvert

WHAT DOES A PREVIS ARTIST DO? (In the Entertainment industry. What Does A What does a Previs Artist Do?)

What is Previs / Photo Credit: The Ocean Maker

WHAT DOES A PREVIS ARTIST DO? (In the Entertainment industry. What Does A What does a Previs Artist Do?)     

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

What Does A Previs Artist Do?

Previs is a technical service typically done in 3D that allows a production team (including the producer and director of a film, commercial, or TV show) to realistically lay out or visualize the scenes in a way that technically makes sense. For example, a production team can use a 3D previs to map out a complex camera move so they can see how they can make the shot happen before they have to do it on camera.

A previs artist is a skilled generalist with considerable experience in digital animation and a keen eye for cinematography. He or she is a member of the visual effects team who is responsible for creating previsualization animatic during pre-production. At the request of the director, animatic are used to plan various iterations of a complex scene, providing the director with a rough representation of character blocking, the environment, digital effects, and other cinematic elements.

In the realm of pre-production (often called “pre-pro”), a previsualization is used pre- pre-pro—that is, before production even begins. During this stage, previs is used to figure out and test a project’s idea, including a concept, an unfinished script, and information about where and how a camera moves in space, how a shot is best laid out, and how it can be executed in real life. Here are some key features of a previs:

Previs is more focused on the technical aspects of a shot and less focused on aesthetic details and narrative flow…

Previs can be more simplified and stripped down to focus mainly on how things are moving and the composition of shots…

Previs is something a director of a live-action commercial or movie would ask for…

Previs is a more detailed plan (think blueprint) for a director and producer to take and use on set… Previsualizations are incredibly valuable because they help make sure the producer and director are working as efficiently as possible on the shoot. They can check the full-up shot-by-shot against previsualization to make sure every frame looks like it should…

Duties

Working under the management of the previs supervisor, the previs artist is one individual tasked with collaboratively constructing rough animations to represent live-action and visual effects sequences to be shot during principal photography. Each artist assigned to the project will be responsible for a specific task or series of assets, such as modeling and rigging characters, animating characters, modeling the environment, or contributing the lighting and particle effects as with explosion effects. In some cases, artists may have the luxury of pulling character and environment assets from an existing digital library of stock models.

Once the individual elements of the sequence are assembled, artists then create several iterations of what the scene may look like, based on the script and instruction provided by the previs supervisor, who has received storyboards and notes from the director. The animations are not generated at high quality with detail in color and texture but instead are rough approximations used only as a guide for filming. To effectively visualize the director’s intent in a useful manner, the previs artists pay specific attention to the composition of animatic sequences using virtual camera lenses, virtual camera movement, frame composition, staging, and sequence editing.

Skills & Education

Employment as a previs artist requires proven skill in digital art and animation, including experience in modeling, rigging, and character animation. Experience in the use of software applications like Maya is necessary. Furthermore, previs artists must have a thorough knowledge of filmmaking principles such as cinematography, continuity editing, blocking, and scene staging. In working specifically with directors and cinematographers, artists must demonstrate an understanding of camera specifications, film terminology, and the conventions of storytelling. A college degree in computer animation or film and television production is beneficial, as it provides the technical and theoretical education necessary in this career.

What to Expect

Previsualization artists may find full time employment within a visual effects studio or digital marketing and advertising firm that specializes in theatrical trailers, title sequences, commercials, and other short-format productions. On the job, artists can expect a heavy project volume with shorter deadlines, leading to higher turnover. Because animatic are intended to be produced cheaply (in relative terms) and quickly, a previs artist may only spend a matter of weeks on an assignment, as opposed to months or years.

Individuals who prefer to spend an intensive year perfecting the finer details of a single visual effects sequence would be better suited to find work in post-production. Previs artists are more concerned with accuracy and effectiveness than aesthetic refinement. It is also important to note that movie-going audiences will never see the work contributed to the film’s early days during pre-production. Previs artists will still get a credit on the film, but they will only have memories (and maybe a DVD extra) to look back on after the project is over. On the upside, artists have the opportunity to work closely with directors and production designers during the crucial phase that will map the entire production process.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures,

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

What is Previs / Photo Credit: The Ocean Maker