Dumb Dog Productions LLC: November 2018

SUN TZU QUOTE

Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

SUN TZU QUOTE...“Strategy without tactics is the slowest route to victory. Tactics without strategy is the noise before defeat.”

Sunday, November 25, 2018

WHAT DOES AN ASSISTANT DIALOGUE EDITOR DO? (In the Entertainment industry.)

Assistant Dialogue Editor / Photo Credit: Script Magazine - Kim Garland -Justin Lachance

WHAT DOES AN ASSISTANT DIALOGUE EDITOR DO? (In the Entertainment industry.)

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

What Does An Assistant Dialogue Editor Do?

Assistant Dialogue Editor. The dialogue editor is a type of sound editor who assembles, synchronizes, and edits all the dialogue in a film or television production. Usually they will use the production tracks: the sound that was recorded.

On a lucky day, the average film may require only a few minutes of replacement dialogue to substitute for unusable audio recorded during principal photography. Then there are those films that necessitate a great deal of ADR because of added special effects or particularly challenging environmental conditions where ADR editors may be working on replacement tracks in the double-digits. When a single ADR editor winds up with a massive workload, he or she often relies on an assistant to keep the process organized and efficient.

Duties

The assistant dialogue editor works within the post-production sound department under the supervision of the ADR editor. This person is chiefly responsible with the day-to-day operation of the dialogue editing unit, allowing the ADR editor to exclusively focus on cutting together the audio tracks. The assistant may perform any tasks delegated by the ADR editor or supervising sound editor, but typical duties will include organizing and retransferring replacement dialogue, cueing tracks before each session, and laying up of tracks. When the ADR editing process is complete, the assistant dialogue editor is responsible for readying the tracks for the final mix by cleaning the audio—removing minor noise—and preparing cue sheets.

Skills & Education

A college degree in recording arts or film and television production with a concentration in audio post-production is recommended for this career. The assistant dialogue editor must be proficient in the use of audio editing consoles and software, as well as the standard techniques commonly used in the post-production process. Familiarity with the different types of microphones and their intended applications is required. Like any technician working in the audio field, the assistant should have a good ear for audio, which requires extensive training. Courses in music appreciation and sound theory are useful in developing a discerning ear. It is desirable that the candidate be meticulous and attentive. The editing process for both audio and picture is long and arduous; a simple mistake by a rookie assistant could cost several hours and thousands of dollars in lost time. On the other hand, excellent performance could lead to opportunities to advance and become the primary ADR editor.

What to Expect

This can be an entry-level position with the appropriate education and demonstrated skills. Employment opportunities may be found as a full-time assistant in a post-production audio studio or as a freelancer on a contract basis. Trainee positions, which are essentially internships, may also be available where assistants are ranked as mid-level roles. To get a foot in the door, seek out any relevant employment within a post-audio studio. Even if you are just getting coffee for the editor or labeling CDs, it is a start. On the job, you can expect long, irregular hours depending on the production schedule. The closer the deadline looms, the longer you can expect to be in the studio. Like the music industry, it is not unheard of to spend 18 hours in the editing bay.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Assistant Dialogue Editor / Photo Credit: Script Magazine - Kim Garland -Justin Lachance

Saturday, November 24, 2018

WHAT DOES AN 3-D MOTION TRACKER DO? (In the Entertainment industry.)

3-D Camera Tracking / Photo Credit: Mikey Borup - Vimeo

WHAT DOES AN 3-D MOTION TRACKER DO? (In the Entertainment industry.)

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

What Does An 3-D Motion Tracker Do?

Motion tracking is the foundation upon which all live-action visual effects are built; this is the first step in creating a match move, which allows a computer-generated object to be inserted into live-action footage.

Duties

The 3-D motion tracker works as a member of the visual effects team during post-production and is responsible for identifying and tracking features in a scene that will later include CGI objects. He or she typically works under the direction of the visual effects supervisor and a senior artist. To begin, the motion tracker uploads a selection of footage to a software program like PF Track. Next, he or she must determine if and where masks should be applied within the frames. Masks, as the name indicates, effectively hide information from the program that should not be tracked. For example, if the scene includes an actor moving about a room, the motion tracker may wish to hide that actor in favor of tracking the stationary furniture within the real space.

The key task of motion tracking is setting points, which represent 2-D coordinates within each frame. The software program uses these coordinates to determine and track the camera’s position throughout the scene. The artist selects stationary points within the space that represent real objects and where there is a high degree of color contrast—corners work especially well. Many software applications will offer the option to automatically place points based on color contrast information. In this case, the artist reviews the points through the progression of frames and then deletes any errant points that are misplaced or unnecessary. The technique of interactive tracking requires the artist to place points by hand in each frame in order to create an effective track; this is sometimes necessary in footage that includes a great deal of object movement or camera jitter in the sequence.

Once the points are set to the motion tracker’s satisfaction, he or she allows the program to calibrate in order to solve for 3-D motion. Because video footage represents a series of 2-D images, the software applies an algorithm that will make it possible to treat each frame as a 3-D space when inserting three-dimensional objects. CGI objects will then be augmented to reflect the camera’s movement through the scene, accurately reflecting perspective, size, and distance relative to the camera and real objects in the scene. The artist must also establish a ground plane that tells the software where the spatial axis of the environment within the frame is; this orients the virtual camera and selected points in a definite space. At this point, the motion tracker will typically export the completed frames to a new program like Maya where the 2-D frames are reconstructed by a match mover to represent a 3-D environment, and the computer generated objects are placed within the scene.

Skills & Education

A career as a 3-D motion tracker requires training in visual effects techniques and appropriate software. A college degree in computer animation or related field is the typical path toward employment. Visual effects artists, whatever their specialties are, must have a solid education in composition, lighting, perspective, and similar artistic aspects of cinematography. While the computer lifts most of the burden of mathematical calculations off the artist, it is beneficial to understand the algorithms at work in the motion tracking process. The techniques of the craft are constantly evolving and becoming more sophisticated, so the more the artist grasps of the equations involved, the more he or she is able to contribute to the advancement of motion tracking in cinema.

What to Expect

The role of the 3-D motion tracker is considered an entry-level position within a visual effects studio. A rookie may be recruited directly out of college based on his or her VFX reel or may graduate to the role from that of render wrangler. On the job, the work of the other artists and animators further down the post-production pipeline is dependent on the motion tracker’s initial process; this means the artist must show a keen attention to detail and a meticulous work ethic. A motion tracker who can deliver clean tracks efficiently will prove invaluable to the studio, thereby moving another step closer to promotion. Career advancement will depend on your specific skills and artistic or technical talent, but related careers include rotoscope artist, match mover, lighting artist, texture artist, and animator.

3-D Camera Tracking / Photo Credit: Mikey Borup - Vimeo

WHAT DOES AN COPYWRITER DO? (In the Entertainment industry.)

Copywriter Desk / Photo Credit: The Writing Cooperative

WHAT DOES AN COPYWRITER DO? (In the Entertainment industry.)

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

What Does An Copywriter Do?

Every bit of website content, poster language, and billboard signage begins as a blank space on a copywriter’s screen. These wordsmiths write the ads and marketing assets that compel audiences to see a movie, buy a game, or pick up an artist’s latest album.

Copywriting is the process of writing advertising promotional materials. Copywriters are responsible for the text on brochures, billboards, websites, emails, advertisements, catalogs, and more. This text is known as “copy.” That's why a copywriter is often referred to as “a salesman in print.”

Duties

In this job, you are responsible for creating copy for advertising, marketing, and PR materials on behalf of entertainment companies like film studios, record labels, and game developers. Copywriters take direction on the goals of the campaign and work within the given creative and design parameters to deliver content that is persuasive, interesting, and reflective of the qualities of the product and intended audience. She or he may be asked to write a tag line and script synopsis for a film website and press packet, artist bios, magazine ads, or packaging copy, though these are just a few of the copywriter’s functions. Commonly, the copywriter is a go-to person for multiple forms of text assets and may be asked to assist several departments. Additional responsibilities include attending meetings to learn about upcoming initiatives, pitching ideas, and conducting research in conjunction with assigned copy.

Skills & Education

This career requires a college degree in communications, creative writing, or a related field. Courses in advertising, marketing, and entertainment business are also beneficial. You must be a talented and creative writer, but you should have excellent command of grammar as well. Knowledge of AP Style and the Chicago Manual of Style (and the ability to conform to in-house style guides) is necessary; experience with web publishing tools and platforms like Drupal and WordPress is helpful. It is important to understand that in copywriting for advertising and marketing materials, you are creating copy based on another’s needs, not your own vision. Copywriters must be flexible and capable of adapting their style to fit the project.

What to Expect

There are entry-level opportunities for a copywriter with the necessary education or related experience. Positions exist within film studios, record labels, game developers, advertising agencies, and most entertainment-related companies. In some cases, this job can be performed freelance or by telecommuting, but most often, the writer is required to keep regular business hours in an office. You will be working under strict deadlines and required to deliver copy on schedule that is proofed and clean of errors. There is no time for writer’s block and no one will be concerned with stroking your sensitive ego; you are expected to consistently turn in quality work that meets the advertising and marketing needs of the product, and adheres to the standards set forth by department managers.

Copywriter Desk / Photo Credit: The Writing Cooperative

Friday, November 23, 2018

WHAT DOES AN ADVERTISING MUSIC ASSISTANT DO? (In the Entertainment industry.)

Moog Synthesizer / Photo Credit: Cerc-UG

WHAT DOES AN ADVERTISING MUSIC ASSISTANT DO? (In the Entertainment industry.)

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

What Does An Advertising Music Assistant Do?

Entertainment companies such as motion picture studios, television networks, and game development studios often hire third-party advertising agencies to put together ad packages including trailers, websites, and viral video campaigns to promote the release of a new product. Within these agencies, the advertising music assistant supports the larger staff of the music supervision department in administrative tasks.

Duties

The music supervision department is responsible for selecting and securing rights for songs to be incorporated into theatrical trailers, television and radio commercials, or web ads. The advertising music assistant is responsible for the administrative tasks of the department, as well as considerable research and reporting. Among his or her primary tasks is writing music cue sheets; this is a spreadsheet that details information on the music and songs used in any kind of filmed production. The cue sheet must include the name of the composer, publisher, length of the music clip, song title, and other pertinent information used for securing licenses and calculating royalties. To prepare the cue sheet, the advertising music assistant is responsible for researching ownership of the selected songs by contacting the appropriate publisher, record label, and/or performing rights organization such as BMI or ASCAP. The completed cue sheets are then approved by the music supervisor and delivered to the copyright owners. Additional tasks may include collecting and delivering contract forms, rolling calls for senior staff, and maintaining the department’s computer database.

Skills & Education

A college degree in music business is encouraged, and coursework should include study of advertising principles, copyright law, and marketing. The advertising music assistant should be familiar with the practices of music publishers and PROs, as well as have considerable knowledge of deep catalog. An internship with one of these music-related entities is of great benefit in starting your career. The ins and outs of the industry can be gained on the job, but a love of music is a basic necessity. Further, the assistant must be proficient in the use of standard office applications like Word, Excel, Pages, and Numbers, and be able to easily pick up proprietary database software.

What to Expect

This is an entry-level position for an individual with appropriate education and can be a stepping stone toward a career as an A&R administrator, music supervisor, song plugger, or a related role. The most significant benefit of employment as an advertising music assistant is the opportunity to develop the necessary contacts within record labels and publishers to advance to a more lucrative and exciting career in the music industry. Networking is the key to building a positive reputation. Your success in this endeavor will hinge on your ability to learn quickly, a knack for navigating the complicated terrain of music licensing, and an ability to glean as much knowledge as possible from the veteran professionals around you.

Moog Synthesizer / Photo Credit: Cerc-UG

Thursday, November 22, 2018

WHAT DOES AN ART DEPARTMENT COORDINATOR DO? (In the Entertainment industry.)

Art Department / Photo Credit: Drewprops

WHAT DOES AN ART DEPARTMENT COORDINATOR DO? (In the Entertainment industry.)

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

What Does An Art Department Coordinator Do?

The art department coordinator acts as the administrator of the crew; he or she is under the supervision of the art director. The coordinator assists this person in the business matters of the department, as well as the smooth operation of pre-production, principal photography, and wrap-up.

Duties

The art department coordinator begins work during pre-production and is responsible for tasks as delegated by the art director. These tasks will include managing all department communications concerning scheduling, such as informing pertinent staff of design meetings, delivery deadlines, and related events. It is the coordinator’s job to ensure that all parties are on the same page and informed about decisions and changes that will affect the development of art assets and concept material. He or she will also participate in research. If the art director is trying to pin down the accurate aesthetic of Morocco in the early 1900s to produce a convincing exterior set, the coordinator must use all available resources to gather necessary information concerning color, style, textures, and materials for that purpose.

In preparation for construction of scenery, this person is responsible for documenting a complete materials and equipment list and then for gathering vendor proposals for renting or purchase. When the appropriate vendors have been selected, the coordinator will oversee the purchase or rental agreements and collect applicable paperwork for billing. Therefore, the coordinator is also tasked with tracking the art department budget and delivering that information to the line producer. Other duties delegated to this position may include scheduling crew and documenting time sheets. During production, the coordinator continues to monitor expenditures against the budget and turns that information over to the production office, as well communicating call times for the art department crew. At the conclusion of principal photography, he or she must hand over all budget documentation for billing to the line producer, and see that vendors are paid. This person must also manage the return of all rentals to the appropriate vendors.

Skills & Education

A college degree in film and television production or theatrical design in recommended, and study should include courses in entertainment business with an emphasis on finance, accounting, and management. An art background with training in fine art is also useful. The art department coordinator must understand the production process, as well as the procedures for obtaining vendor bids, securing contracts, billing, and budgeting. Excellent computer skills are required, and the coordinator should be familiar with Word, Excel, and various budget-tracking software. The individual best suited for the role is highly organized, meticulous, and able to juggling multiple competing priorities.

What to Expect

If you are more comfortable around spreadsheets and purchase orders than a paintbrush, than this may be the right gig for you. The art department coordinator is able to contribute to the creative process of filmmaking or television production, without the necessity for advanced artistic skill. However, there can de a downside. For those who are looking to advance in an artistic role, the coordinator job may be a dead end, as no one will have the opportunity to see your talent if you are stuck plugging in Excel formulas. Those wishing to advance to the position of assistant art director or set designer should concentrate on artistic roles within the department. On the other hand, coordinators who are strictly interested in the business side of entertainment can pursue opportunities as a line producer, unit production manager, associate producer, or similar role. A path toward becoming an art department coordinator usually begins as an office production assistant or as a full-time employee at a scenic and props company.

Art Department / Photo Credit: Drewprops

Wednesday, November 21, 2018

WHAT DOES A ADVERTISING ART DIRECTOR DO? (In the Entertainment industry.)

Advertising Art Director Desk / Photo Credit: Tony Clements - The Enquiry Desk

WHAT DOES A ADVERTISING ART DIRECTOR DO? (In the Entertainment industry.)

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

What Does An Advertising Art Director Do?

Art directors are responsible for the visual style and images in magazines, newspapers, product packaging, and movie and television productions. They create the overall design and direct others who develop artwork or layouts.

Art directors typically oversee the work of other designers and artists who produce images for television, film, live performances, advertisements, or video games. They determine the overall style or tone, desired for each project and articulate their vision to artists. The artists then create images, such as illustrations, graphics, photographs, or charts and graphs, or design stage and movie sets, according to the art director’s vision.

Art directors work with art and design staffs in advertising agencies, public relations firms, and book, magazine, or newspaper publishers to create designs and layouts. They also work with producers and directors of theater, television, or movie productions to oversee set designs. Their work requires them to understand the design elements of projects, inspire other creative workers, and keep projects on budget and on time. Sometimes they are responsible for developing budgets and timelines.

Art directors work in a variety of industries, and the type of work they do varies by industry. However, almost all art directors set the overall artistic style and visual image to be created for each project, and oversee a staff of designers, artists, photographers, writers, or editors who are responsible for creating the individual works that collectively make up a completed product.

Visual advertising should be eye-catching but is also intended to make an emotional promise to the consumer. The most difficult task of the advertising art director is to interpret the client’s vision as presented in preliminary concept meetings, and return with a composite (“comp”) that accurately expresses the theme of the product and meets with the approval of the client. The tools have changed somewhat over the years, but the process of conceptualization still begins with that mental “a-ha” moment.

Duties

The first step in the advertising art director’s process is to assimilate all of the available background material presented in association with the product. He or she will carefully listen to the client’s needs so as to design a campaign that can grab the attention of consumers and communicate a sense of what the audience will experience by listening to the album, seeing the movie, or attending the show. With client notes in hand, the advertising art director assigns a graphic artist to begin initial comps. The art director will guide these artists to produce several different polished examples to be presented to the client for approval. The art director also delegates additional work, such as scheduling shoots or voice-over sessions, and oversees the completion of those projects. It may take several rounds of revisions to arrive at a final campaign that the client is pleased with and which can then be translated to several different media, like billboards, one-sheets, web advertising, and television commercials. The advertising art director is ultimately responsible for ensuring the completion of all design assignments and answers to the agency’s creative director, but also may be in a position of administrative authority in the art department. In such cases, he or she is tasked with developing a budget for the production of art for each campaign and presenting the creative director with a cost proposal.

Skills & Education

A college degree in fine art or graphic design is recommended for this position, as the advertising art director must be a highly skilled artist capable of working in a number of media. Of course, inherent design talent is a prerequisite. Courses in advertising, marketing, and art history are also beneficial. If you do not naturally gravitate toward digital art, you should seek training with software like Photoshop, or start tinkering on your own and honing your skills. This job demands an individual who is an effective leader, capable of motivating his or her art staff and pulling from them their best work. He or she must be adept at taking an abstract vision and producing a tangible product; this requires excellent verbal and written communication skills.

What to Expect

It’s easy to fall in love with a particular iteration of a design, and become attached to that comp and less willing to budge on your artistic vision; this is a hazard of the job. Advertising art directors cannot become so attached to their labors of love that they disregard the wishes of their clients or the design brief as translated through the creative director or even the account executive. You must balance the client’s expectations with your own creative judgment. Remember that you are being paid not only for your talent and trained eye, but also to produce a product on contract; when possible, you can attempt to sway the client from making an obviously hideous design choice, but in the end, the person writing the check is the boss. Those who take an unwavering stance on their artistic creations are probably better suited to stay home and paint, rather than work in advertising.

Important Qualities

Communication skills: Art directors must be able to listen to and speak with staff and clients to ensure that they understand employees’ ideas and clients’ desires for advertisements, publications, or movie sets.

Creativity: Art directors must be able to come up with interesting and innovative ideas to develop advertising campaigns, set designs, or layout options.

Leadership skills: Art directors must be able to organize, direct, and motivate other artists. They need to articulate their visions to artists and oversee production.

Time-management skills: Balancing competing priorities and multiple projects while meeting strict deadlines is critical for art directors.

Advertising Art Director Desk / Photo Credit: Tony Clements - The Enquiry Desk

WHAT DOES A WEB DEVELOPER DO? (In the Entertainment industry.)

Web Development Work Station / Photo Credit: Medium

WHAT DOES A WEB DEVELOPER DO? (In the Entertainment industry.)

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

What Does A Web Developer Do?

In the entertainment industry, nothing hits the consumer market without a web presence to back it up. Branded websites help to drum up interest before the product’s debut, create a loyal online community, and ultimately drive increased sales. Web development is an in-demand career field, and skilled web developers have endless opportunities to work across any segment of the entertainment business.

Duties

When there is a new game to promote or artist’s album about to drop, the new media manager will consult with an in-house or contracted web developer to create a product-specific site. The client or manager may come to the table with an initial Photoshop wireframe, a back-of-the-napkin sketch, or nothing at all. From a solid concept or nonexistent idea, the web developer collaborates in design discussions to identify the needs and purpose of the website. It is his or her job to flesh out the look and functionality of the site, widget, or mobile app and produce examples for review and revision. She or he is tasked with scripting necessary code, debugging, and fine-tuning the aesthetics of the site. Based on the client’s or manager’s needs, the web developer will select a content management platform, plug-ins, and embedded media products like a media player or branded game. The developer is also responsible for integrating items like Facebook Connect, Add This bookmarking, and other social networking widgets. After the project is completed, this person may be required to perform occasional maintenance, but typically, a dedicated product manager or site moderator will be assigned to manage regular activity, including analytics. For the web developer, once the site is launched, the next project begins.

Skills & Education

A college degree in computer science or related field is a must, as is specific training in hand-coding XHTML, HTML5, PHP, and MySQL. You must be proficient with Photoshop, Flash, CSS, and JavaScript and have experience on multiple platforms, including Linux and Unix. Beyond your technical expertise, as a web developer you should have a creative imagination and be capable of translating a client’s request from idea to working product. Excellent communication and collaboration skills are necessary, and some training in graphic design or fine art is recommended.

What to Expect

Web developers may work in-house at a record label, game publisher, film studio, or other entertainment company, at a boutique development firm, or as a freelancer. Like any creative endeavor, constructing a website for a client or product is a collaborative process that demands you be open to constructive criticism and put aside your personal preferences in deference to the wishes of the client. Undoubtedly, you will experience the occasional client or manager who is steering you toward a catastrophic design stocked full of web don’ts, but this is where your skills as a diplomat will come in handy. You are being paid for your expertise, and therefore must find a balance between pleasing the person writing the check and delivering a functional, attractive website. Deadlines will be strict and often completely unrealistic based on the amount of work to be done—that’s show business. Always under-promise and over-deliver: Missing milestones is a fast track to unemployment, but if you can constantly return work that is above expectation and ahead of schedule, your career and reputation will be better for it.

Web Development Work Station / Photo Credit: Medium

WHAT DOES A VOICE-CASTING DIRECTOR DO? (In the Entertainment industry.)

Voice-Actor / Photo Credit: Project Casting

WHAT DOES A VOICE-CASTING DIRECTOR DO? (In the Entertainment industry.)

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

What Does A Voice-Casting Director Do?

What does a friendly and optimistic talking frog sound like? How about a troublesome yellow 10-year-old? Just about anyone aware of pop culture could give you their best Kermit the Frog or Bart Simpson impression or perhaps enact Yoda having a conversation with Bugs Bunny. What these memorable characters all have in common is a distinctive voice that is inextricably linked to the image audiences carry in their minds. So, how does one go about achieving such a perfect pairing of personality and voice?

Duties

A voice-casting director is a specialist within the league of casting directors working in the entertainment industry. His or her key function is to audition voice-over actors to portray characters for animated films and televisions shows, video games, radio commercials, or any production that requires off-camera dialogue. After narrowing down the field of potential actors, the voice-casting director makes recommendations to the director for final approval.

The voice-casting director’s process begins when he or she is hired by the producer, usually early in the production. This person will meet with the producer, director, and other senior creative team to review the script and discuss the vision of the project. The voice-casting director is particularly interested in learning how the director imagines each character’s personality based on the background information found in the script. In some cases, the voice-casting director may be required to perform research to further understand the characters, investigating specific accents or seeking out reference material to illustrate certain voice types.

After having fleshed out the characters with the director, the voice-casting director then starts to scout for talent to invite for auditions. There are a number of resources available for seeking talent, such as contacting talent agencies, searching through online voice actor databases, and just pounding the pavement at local theaters and comedy clubs. Casting offices also maintain an extensive database of actors that have auditioned in the past. Usually, the director and voice-casting director will have at least a few performers in mind, based on their prior working relationship.

Before holding in-person auditions, the voice-casting director and staff will review solicited demo reels. Voice-over actors prepare audio recordings of past work and original material to serve as a representation of the performer’s range and talent. After narrowing the field to a select number of candidates, the voice-casting director will lead live auditions. At these in-person sessions, actors are asked to deliver a prepared monologue or read from the script in the character. The voice-casting director will usually ask the actor to read several times, giving notes to help the performer hone in on the particular type of voice the character needs. He or she coaches the actor by giving direction as to the emotion and personality of the character in the scene. If necessary, actors that make it on the short list are invited to callback auditions to perform for the director before a final casting decision is made. It is the casting-director’s responsibility to narrow down the field of candidates and offer a list of actors for each role to the director.

Skills & Education

A talent for listening is a voice-casting director’s most valuable commodity. He or she must carefully listen to the director’s ideas about a character, hear the characters coming to life in the script, and then find that particular voice in an actor’s audition. Imagination, creativity, and the ability to interpret abstract concepts are the marks of a great voice-casting director. Beyond that, this career demands an individual with considerable experience in the entertainment industry, with strong connections with producers, directors, and talent agents. To develop those contacts requires several years working in television, film, or radio.

A specific college degree is not required, though many voice-casting directors hold at least a bachelor’s degree, with an education in film and television production, broadcasting, entertainment business, or other media field. Knowledge of audio post-production process and sound engineering is also highly beneficial. It is very helpful to study performance, characterization, literature, and directing. Learning to dissect dialogue and descriptive language to identify the psychology of a character is an important component to casting.

What to Expect

The process of voice casting is highly instinctive, and as such, it is not a career that all will succeed in. Over time, voice-casting directors develop a certain knack for appropriately matching voices to characters based on a wide range of experience in the industry. Those that wish to pursue such a career can seek out entry-level career opportunities within casting agencies under the mentorship of a veteran professional. There are certain tricks to the trade that can only be learned through hands-on experience. Studying voice-over material like cartoons and video games can serve to enrich your knowledge base in preparation for a career in voice casting. On the job, you should anticipate a fast paced environment that is highly deadline oriented. In entertainment production, time is money. Voice casting is a creative process but one that must be carried out efficiently to keep the rest of the project on schedule. In this highly competitive field, an individual may take several years to reach a senior-level position.

Voice-Actor / Photo Credit: Project Casting

Sunday, November 18, 2018

WHAT DOES A VISUAL EFFECTS SUPERVISOR DO? (In the Entertainment industry.)

Visual Effects Supervisor Photo Credit Avatar - Daniel Leduc

WHAT DOES A VISUAL EFFECTS SUPERVISOR DO? (In the Entertainment industry.)

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

What Does A Visual Effects Supervisor Do?

Definitions

Note that there is no union position for visual effects supervisor, there’s no certification process for this role and there is no standard to how any of this works so I’ll be describing what is industry practice.

A Visual Effects Supervisor is in charge of the creative and technical issues of visual effects on a project. This position starts in pre-production and continues through the completion of the visual effects in post-production. This can span 1 to 2 years on a large project. The supervisor typically works with a visual effects producer who focuses on the budget and schedule aspects of the work. If the project has a large amount of animation then there will be probably be an Animation Supervisor as well.

Computer-generated imagery is now as vital a tool in film and television production as the script or the actors. Even low-budget shows reserve some funding for the most basic of digital post-production. The visual effects supervisor is the creative and technical manager, overseeing the work of the staff dedicated to the art and science of VFX.

These days there’s likely to be multiple visual effects supervisors on a visual effects film. If the film has a large number of shots then it sometimes makes sense to split up the work with each supervisor overseeing specific sequences to provide the attention required. In this case they may be referred to as co-supervisors. Associate Supervisor is sometimes a title given to someone who is moving up into the role of supervisor and who has a smaller number of shots compared to the other supervisor(s) on the project. Senior supervisor is sometimes used as an honorary title given to someone at a company who has been at the company a long time and who is able to step in if there are problems on a show.

Given the increase in visual effects shots on a show, the reduction in post-production time allowed by the studio and in an effort to count every bean by the studio, work on a large effects driven show is typically spread over multiple companies. Each company handles specific sequences or types of effects and these companies will have their own visual effects supervisor. The film production or studio may hire a vfx supervisor or at least a vfx producer to oversee the work of these companies.

A Plate supervisor is usually a visual effects supervisor who is just involved in the live action or shooting background plates. Plate is the term used for footage that is shot to be used for visual effects. This can be a foreground, background or other elements. With or without actors. (Elements are all the different images used to make up the final shot). The plate supervisor may be hired so the main supervisor can continue to oversee the work back at the VFX Company or studio. A plate supervisor may also be hired to shoot specific images half way around the world while principal photography is being done.

Start up

When a film has been greenlit (approved by the studio to proceed into production) or close to greenlit then the film production (director, producer) works with the studio head of visual effects if there is one. This position is primarily a producer type of role to oversee multiple films in various stages of production. This office usually has their own list of approved vendors (visual effects companies) which they forward the script to. They would also play a role in hiring a visual effects supervisor and visual effects producer for the film if there is one.

Each VFX company has their own supervisor and producer breakdown the shots and bid on the show. If there is a show VFX supervisor and producer they review the bids and work with the studio visual effects department to award the work to different companies.

Pre-production

The supervisor works closely with the director to get a sense of what the director is looking for on each sequence and each shot. This is done by employing concept artists, storyboard artists and previs artists to create visual guides. The idea is to solidify the vision of the director and allow the supervisor to work out the technical aspects of completing the shot. The supervisor decides which techniques to use and what will be required when the live action is shot. This is usually done with involvement of the VFX departments and/or companies. If the visual effects supervisor works at a company he/she usually determines the key players (CG supervisor, sequence leads, etc.) with the aid of the VFX producer.

Most visual effects work happens after filming but some things such Research and Development (R&D) and model building (physical and computer graphics) can begin earlier. The supervisor will be overseeing this during pre-production. This can be time critical if the R&D will determine the best way to photograph a sequence. The pipeline may also be developed or adjusted for the type of project during this time. Pipeline is essentially the workflow through the facility and the software tools to help that process. (Databases to track elements, computer scripts to move or configure files, etc.)

The supervisor works with the other film production department heads (Director of Photography, 1st Asst. Director, Production Designer, Special Effects, Stunts, etc.) to outline the VFX requirements during filming. This can cover blue screen, motion control, special lighting, etc.

Production

The supervisor is involved in all the live action photography that requires visual effects. This can mean 6 months in a distant country or months on a sound stage. If multiple companies are involved with a large number of shots they each may send their own supervisor when one of their sequences is being filmed. On a large show it’s common to have a 2nd unit. This can be a full crew with it’s own 2nd Unit Director to film action sequences or other sequences and shots that don’t require a lot of the principals (main actors). This will require an effects supervisor as well if the work involves visual effects. Plate supervisors may be employed to help oversee this work depending on the volume of work and schedules.

If there are issues with the actors (eye line, timing, action with a creature to be added later, etc) I tend to discuss it with the director for him/her to guide the actor. This avoids problems with the actors getting multiple and contradictory instructions.

This may seem like a lot of work but a huge amount of the success of a shot is based on it being filmed correctly to begin with. This means making sure the actors eyelines are correct, the lighting matches the situation when possible, clean plates and information is gathered at the time of photography (lighting references, match move markers and data, etc)

One of the most detrimental decisions a production can make (from a cost and quality stand point) is when they attempt to shoot a visual effects shot and have you just ‘fix’ it later. And believe me if the supervisor turns his/her back for moment production will try to get off a shot. This is most likely to happen when the director has done a previous effects film and ended up with good looking shots despite problems shooting. What they never see is the amount of work and extra costs any of this entails.

I’ll probably do a blog post sometime about the ins and outs of plate photography.

Post Production

Once the footage has been shot the film moves into post production. Ideally editing has been proceeding even during production and some sequences have been locked so visual effects work can begin even during production. As sequences are edited they are turned over by the director to the supervisor and the visual effects team.

How the work proceeds and how it’s structured is determined largely by the supervisor and producer. Sometimes it’s best to rough in quick animation and composites for all the shots of a sequences. That allows the director and editor see a sequence in context and see if major changes are required before you final every shot. If the director has a difficult time visualizing the supervisor may have to wait until the shots are further along before presenting them to the director. Some directors have difficulty making decisions based on ‘plastic’ animation renders so these would need a higher level of rendering.

Production may require reshoots months after production if there are editorial or technical issues with the footage. Additional background plates may have to be shot for sequences, especially if there has been a change from the original plan. Once again these would require an effects supervisor or plate supervisor.

Dailies

A supervisor’s day usually starts with review of dailies. I typically review them on my workstation and make notes before stepping through with the team or individuals involved. Even spending a few minutes per shot adds up with you have quite a number of shots in production. As much as you try to balance the schedule invariably you have a large number of shots to be reviewed as you get close to the final deadline. This can mean spending the entire morning reviewing shots. Trying to balance a pat on the back for the work done so far on a shot and encouragement with the need to list the items still need to be completed to finish the shot is a tough. Usually the pat on the back is the first thing to go as the schedule gets tighter. It’s no disrespect to the crew members, just the realities of getting a large volume of work done.

In the afternoon the supervisor may have meetings to review scheduling, budgets, new sequences, R&D status etc. He/she may have to present the director the latest shots or sit down with individual artists to discuss any updates/changes from the morning dailies.

The supervisor usually puts in the same hours as the rest of the production crew. 10-12 hour minimum. 5-7 days a week.

Finals

The director is involved in all decisions from the approval of the original designs and through to the final shot. The director has to buy off on the animation before the final rendering and compositing is done.

One of the things the supervisor has to do is work with the director on getting shots finalized (approved) in a timely manner. It’s very easy to get too focused on every detail in a shot, especially if you’re looping the shot over and over on a computer. Matte lines and added elements can always be tweaked more. Unfortunately if you have hundreds of shots to do in a limited time and the supervisor or director becomes too picky or tweak happy then the first shots will look great but the last batch of shots may look awful. For this reason there’s usually a number of target finals to accomplish per week in order to meet the deadline. Any shots that aren’t done from the week before are now added to the number that need to be completed in the current week. The idea is to create a balance so all the shots hold up and work within context of the film. If you can view it in context (with surrounding shots) 2 or 3 times without noticing a problem then it’s done.

Projects

It’s important to note that how a specific supervisor gets assigned a specific project can be very haphazard. The studio or production select what companies to send the script to for bids? This can be based on previous experience or the phase of the moon. For a supervisor who works at a vfx company, the company acts as an agent and manager. They may assign a supervisor based on who’s available from their internal supervisors at that time or who’s under a contract with them. Qualifications for a specific project may have little to do with the assignments.

Since projects take a long time (1-2 years) a supervisor may have to turn down other projects since there’s already a commitment for the current project. Project offers come in one at a time so the supervisor has to decide if he wants to take it or pass and hope something better comes soon. How soon that next offer comes in is unknown. You’re never offered multiple projects at the same time from which you get to choose.

The supervisor has to take in to account the creative issues, technical challenges, and the manner and film history of the director and the time away from their family when deciding on whether to accept a project. Is it better to accept a mainstream big project or an art film? Is it better to do a few, simple effects shots for a high quality film or is it better to do a large number of challenging shots for a simple action film? Each supervisor has to make a call given the situation at that time.

Requirements and guidelines for a visual effects supervisor:

A good visual effects supervisor is a bit of jack of all trades…
Knowledge of a wide range of visual effects techniques and positions…
Experience dealing with a wide range of visual effects techniques and positions. As good as some training material is there’s still nothing like true hands on experience. If you’ve had to paint out a rig or extract a key from a poorly shot bluescreen you’re more likely to think twice and make sure it’s shot correctly. If you haven’t done it you may hope to just toss it into the black box and expect it to come out ok…
Ability to visualize shots and review them in detail within the mind’s eye before they’re shot…
Creative eye. Knowing composition, cinematic design and animation timing…
Understanding of photography and lighting. Knowing what’s looks real and what looks cinematic…
Good communication skills. Discussing a visual or technical issue with a director and also being able to turn around and discuss it with the technical team in a manner appropriate for the listener. The director shouldn’t need a translator…
Get in sync with the director’s vision. After working with the director awhile you should have the ability to predict how they will react to a given specific shots or issues…
Good working relationship with the director. The director has to have trust and confidence in the supervisor and the supervisor has to work for the director. The supervisor may provide his guidance and ideas to the director but at the end of the day it’s the director’s decision…
Know your battles. Knowing when it’s worth fighting for an extra 10 minutes on stage and when it’s not. When is it worth pushing a specific creative viewpoint or when it’s worth trying to get an updated animatic…?
Problem solving. There’s always problems to solve. Technical, creative, logistic and scheduling…
Thinking quickly. Time is money on a film set and when things change the supervisor has to step in make adjustments while keeping in mind the impact in the rest of the process. You always have to be considering several moves ahead as in chess…
Management and people skills. Dealing with a number of different types of personalities (on the live action crew and visual effects crew as well as the director) and trying to keep everyone focused on the goal…
Attention to detail. Keeping an eye on large and small details that will make a shot finished…
Organized. Each shot has to be broken down into each element and how those elements are to be generated or filmed. Any feedback from the director has to be noted and executed…
Team work Film making and visual effects are both team efforts and will require everyone to work together. The supervisor has to take key responsibilities and at other times be able to delegate to key members of the team. He/she has to be open to listening to members of their crew. Try to surround myself with the best and smartest people in their jobs…
KISS Keep it simple stupid. It’s difficult enough to do the work without making everything extra complicated. Is an elaborate process or 20 extra elements worth it for a 2 second shot..
Budget and time. The supervisor has to keep in mind the budget and time when selecting the techniques and figuring out the pacing for the work. If you run out of time or money before completion the results will show it and it won’t be pleasant for anyone…
Think outside the box. The first solution that jumps into your mind may not be the best. Consider it from all angles and all trade-offs…

Living with changes. Everyone working in visual effects has to take changes in stride. The director may change his mind completely after you and your crew have spent a lot of time and effort finishing a shot or sequence. It’s a creative process so that’s the nature of the beast.

Tolerance and balance. The supervisor becomes the fulcrum of production (cost, time) and the artist requirements. If you’re at a VFX company, management and the vfx producer will want you to ‘sell’ the shot to the director as quickly as possible. Yet you’ll have an obligation to the director to make sure the quality of the work and their vision is maintained. I’ve had producers tell me to tell the director he/she can’t do something. Being placed in the middle of political film production issues is no fun. The studio can also become involved in this process, especially if the film has gone over schedule or budget. Awkward for all involved…

Thick skin. The supervisor may be yelled at for things out of their control or may be berated for doing something a specific way (even if it’s exactly what the director had requested the day before)…

Becoming a visual effects supervisor

First you have to decide if becoming a visual effects supervisor is what you want to do. It may sound great but it involves a large amount of pressure and politics.

There’s certainly something nice about focusing on a specific aspect and doing a great job compared to being pulled in multiple directions. A supervisor seldom get much hands on effects time and getting work becomes more daunting since there are a limited number of visual effects supervisors employed compared to technical directors or others in the visual effects crew.

If you’ve only worked in one area of visual effects then you’re likely to try to solve every visual effects shot with those techniques. I’ve seen people who only had physical model experience trying to create an effect with a physical model that would have been easier, faster and more importantly, better done with an animation camera. I’ve seen other people try to write elaborate software programs for something that could have been filmed and composited in a fraction of the time.

These days most people employed in visual effects are assigned to a specific area of work. I was fortunate enough on my first film, Close Encounters, to work in most of the departments (Motion control, model photography, animation camera, matte camera, and R&D and model shop)

It’s up to you try to try to keep moving up in your area and to expand outward. Talk to your employer and see if you can help out in other areas or take training in other areas if they offer it. Some VFX companies like to have people who can accomplish a number of different tasks. Animation and technical directoring, match moving and writing shaders, etc.

Try to get on to a set to see how things work. Most people working behind the computer screen have no idea of the issues involved in the shooting process (‘and why didn’t they shoot that other element on the set’). It can be helpful for a technical director to work as a match mover or data collector as an example.

If you’ve only work with computer graphics try to get some experience with miniatures and vice versa.

Visual Effects Supervisor Photo Credit Avatar - Daniel Leduc