FILM ARCHIVIST… (In the Entertainment industry. What does a film archivist do?)

Film archives antique cans / Photo Credit Urbanski Film

FILM ARCHIVIST… (In the Entertainment industry. What does a film archivist do?)

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

What does a Film Archivist do?

In over a century of filmmaking, there have been thousands upon thousands of scenes put to film. To preserve this long and rich cinematic history, film archivists are on the job. A lot like a movie librarian, a film archivist makes sure that films are preserved for future generations to enjoy or, in the case of bad films, to wonder what the filmmaker and audiences of the time were thinking.

Film decays at a rapid pace. In fact, most of the silent films made in the 1920s have already decomposed to the point of no return. A film archivist is responsible for collecting, preserving, organizing, and displaying old footage, usually for a museum, library, educational institution, or historical site.

As a film archivist, you get to watch hours and hours of video and decide what to do with it. Your job involves editing films to pull out the most important footage, describing scenes with historical significance, and cataloging clips so that researchers and the public can access them as needed.

You may also get the chance to create an exhibit or collection featuring footage around a certain theme. By using your creativity and doing all the proper research, you boil down all those hours of recordings into a format that the public will be able to understand in a matter of minutes.

Your hard work makes the medium of film a useful and accessible resource for understanding history, improving education, and preserving culture.

Duties

The main duties of a film archivist are simple: to organize and preserve an archive of collected films. The archive is often not film alone, but a collection of film reels, videotapes, DVDs, CDs, and other forms of digitally transferred films; an archive can also include items such as scripts, production schedules, still pictures, and any other movie-related media. The film archivist arranges and collates the collection that makes it an easy-to-use reference source for film historians, writers, or students. Film archivists spend a great deal of time cataloging materials as they come in, digitizing fragile materials, and researching new information and materials, as well as assisting those that wish to access the archive. In addition to possessing organizational and research skills, film archivists must be good communicators, as they will spend a great deal of time directing people through the resources and searching for new items to include.

Skills & Education

The nature of the work a film archivist performs is similar to that of a librarian, and as such requires many of the same skills and education. Undergraduate degrees in history, English, or humanities are commonly held by film archivists, followed by graduate degrees in archiving, library science, or similar areas of study. Not only history, but also preservation techniques are vital to the toolbox of a film archivist, as many old films (and related memorabilia such as scripts) are literally crumbling from age. Obviously, film archivists need to be extremely well-organized and have a passion for making sure everything is in its right place. As digitizing has become extremely important to film preservation, a good archivist must be familiar with those programs and processes, as well as comfortable with document storage cabinets and filing systems, microfilm scanners, video technology, and database or file-management systems.

What to Expect

Film archivists are the librarians of the cinematic world, and should expect their career to have many of the same attributes. Unlike many jobs in the film world, the hours and work environment are stable; you can expect a 9-to-5 lifestyle. The nature of the archive can vary greatly in size and scope, and film archivists can work for large film studios, universities, or private individuals and foundations. While film archivists may romanticize about unearthing that lost gem of the cinematic past, the reality is much closer to hours upon hours in front of a computer screen researching, days spent cataloging mundane clips, assisting people with their reference searches, and reshelving. However, a passion for sharing those rare gems with others, and saving them from the scrap heap of history, will enliven what others may see as a dull job.

What does an Archive Trainee do?

An Archive Trainee is an entry level position for someone looking to become a media archivist. It comes with a lot of the responsibilities of a media archivist, but allows tutorship and guidance, as well as access to specialist legacy hardware.

With the world slowly becoming more digital, a lot of companies find themselves with archives of difficult to store film reels and video tapes that are becoming obsolete. An Archivist is responsible for maintaining these tapes and converting them into a digital medium to make them easier to access in the future. They will also handle requests from people in the company for specific clips, and need to have a very quick but thorough method to deliver it. For example, an Archive Trainee may need to find a clip of a politician from the 1980s for a news story running that night.

They will need to assist in creating and maintaining records and databases of all the media in the archive. They may also be required to watch through and enter metadata to make it easier to find a resource later on. 

• Filing and storing media…
• Converting damaged and legacy media into a digital format…
• Using archive footage to contribute creatively to new works…
• Maintaining a database of media locations within the archive…
• Have a passion for media and film, and the preservation of it…
• Understand the importance of clear metadata…
• Learn the workings of legacy hardware, such as Steenbeck flatbed film editing suites…
• Understand different media formats, and how to convert between them…
• Become very familiar with the archive storage facility and how to navigate it…
• Have excellent communication skills…
• Be very well organized…
• Have good attention to detail…
• Be good at working within a team…
• Have good it skills…
• Understand the relevant health and safety laws and procedures… 

Most might find this kind of job boring or a dead end. In reality it is an eye opening experience in to the world human reality, make believe, an never ending adventure into the realm of creativity and imagination.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Camerapedia, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., "PH22.36-1954, American Standard, Dimensions for 35 mm Motion-Picture Positive Raw Stock",  American Cinematographer, American Widescreen Museum, Fujifilm Motion Picture Films, Kodak: Cinematography, Paul C. Spehr, Get In Media,

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.

35 MM FILM… (In the Entertainment industry. What is 35 mm film and its history?)

Photo Credit: Tumblr Photojojo & Kodak

35 MM FILM… (In the Entertainment industry. What is 35 mm film and its history?)

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

35 MM FILM

History

In 1880, George Eastman began to manufacture gelatin dry photographic plates in Rochester, New York. Along with W. H. Walker, Eastman invented a holder for a roll of picture-carrying gelatin layer coated paper. Hannibal Goodwin's invention of nitrocellulose film base in 1887 was the first transparent, flexible film. Eastman's was the first major company, however, to mass-produce these components, when in 1889 Eastman realized that the dry-gelatino-bromide emulsion could be coated onto this clear base, eliminating the paper.

The 35mm film format was developed and produced at an experimental scale in Thomas A. Edison's laboratory in New Jersey by splitting 70mm roll film. Edison compiled his caveat for the double perforated cine film in the fall of 1889, describing it as a double perforated long band passing from one reel to another, driven by two sprocket wheels. The film was obtained from the Eastman Dry Plate and film Company in Rochester, NY. However, it took several years to become a regular Kodak product.

With the advent of flexible film, Thomas Alva Edison quickly set out on his invention, the Kinetoscope, which was first shown at the Brooklyn Institute of Arts and Sciences on 9 May 1893. The Kinetoscope was a film loop system intended for one-person viewing. Edison, along with assistant W. K. L. Dickson, followed that up with the Kinetophone, which combined the Kinetoscope with Edison's cylinder phonograph. Beginning in March 1892, Eastman and then, from April 1893 into 1896, New York's Blair Camera Co. supplied Edison with film stock. At first Blair would supply only 40 mm (1-9/16 in) film stock that would be trimmed and perforated at the Edison lab to create 1-⅜ inch (34.925 mm) gauge filmstrips, then at some point in 1894 or 1895, Blair began sending stock to Edison that was cut exactly to specification. Edison's aperture defined a single frame of film at 4 perforations high. Edison claimed exclusive patent rights to his design of 35 mm motion picture film, with four sprocket holes per frame, forcing his only major filmmaking competitor, American Mutoscope & Biograph, to use a 68 mm film that used friction feed, not sprocket holes, to move the film through the camera. A court judgment in March 1902 invalidated Edison's claim, allowing any producer or distributor to use the Edison 35 mm film design without license. Filmmakers were already doing so in Britain and Europe, where Edison had failed to file patents.

At the time, film stock was usually supplied unperforated and punched by the filmmaker to their standards with perforation equipment. A variation developed by the Lumière Brothers used a single circular perforation on each side of the frame towards the middle of the horizontal axis. It was Edison's format, however, that became first the dominant standard and then the "official" standard of the newly formed Motion Picture Patents Company, a trust established by Edison, which agreed in 1909 to what would become the standard: 35 mm gauge, with Edison perforations and a 1.33 aspect ratio. Scholar Paul C. Spehr describes the importance of these developments:

The cine film was cheap and unused short cut-off bits would certainly be available early on for use in small cameras which were easily portable in comparison the common large-format plate cameras of the time. The cine film emulsion had at first very fin grain structure and slow speed, but as the studios started filming inside faster emulsions were required on expense of the grain size, ironically making it less suitable for 35mm still cameras once they became generally available. Although the first design was patented as early as 1908, it is generally accepted that the first commercially available 35mm camera was the 1913 Tourist Multiple, for both movie and still photography, soon followed by the Simplex providing selection between full and half frame format. Oskar Barnack built his prototype Ur-Leica in 1913 and had it patented, but Ernst Leitz did not decide to produce it before in 1924.

The early acceptance of 35 mm as a standard had momentous impact on the development and spread of cinema. The standard gauge made it possible for films to be shown in every country of the world… It provided a uniform, reliable and predictable format for production, distribution and exhibition of movies, facilitating the rapid spread and acceptance of the movies as a world-wide device for entertainment and communication.

The film format was introduced into still photography as early as 1913 (the Tourist Multiple) but first became popular with the launch of the Leica camera, created by Oskar Barnack in 1925.

35 mm film (millimeter) is the film gauge most commonly used for motion pictures and chemical still photography (see 135 film). The name of the gauge refers to the width of the photographic film, which consists of strips 34.98 ±0.03 mm (1.377 ±0.001 inches) wide. The standard negative pulldown for movies ("single-frame" format) is four perforations per frame along both edges, which results in 16 frames per foot of film. For still photography, the standard frame has eight perforations on each side.

A variety of largely proprietary gauges were devised for the numerous camera and projection systems being developed independently in the late 19th century and early 20th century, ranging from 13 mm to 75 mm (0.51–2.95 in), as well as a variety of film feeding systems. This resulted in cameras, projectors, and other equipment having to be calibrated to each gauge. The 35 mm width, originally specified as 1.375 inches, was introduced in 1892 by William Dickson and Thomas Edison, using 120 film stock supplied by George Eastman. Film 35 mm wide with four perforations per frame became accepted as the international standard gauge in 1909, and remained by far the dominant film gauge for image origination and projection until the advent of digital photography and cinematography, despite challenges from smaller and larger gauges, because its size allowed for a relatively good trade-off between the cost of the film stock and the quality of the images captured.

The gauge has been versatile in application. It has been modified to include sound, redesigned to create a safer film base, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas. Eastman Kodak, Fujifilm and Agfa-Gevaert are some companies which offered 35 mm films. Today Kodak is the last remaining manufacturer of motion picture film.

The ubiquity of 35 mm movie projectors in commercial movie theaters made 35 mm the only motion picture format that could be played in almost any cinema in the world, until digital projection largely superseded it in the 21st century. It is difficult to compare the quality of film to digital media but a good estimate would be about 33.6 megapixels (67.2 megapixels DSLR Bayer equivalent) would equal one 35 millimeter high quality color frame of film.

How film works

Inside the photographic emulsion are millions of light-sensitive silver halide crystals. Each crystal is a compound of silver plus a halogen (such as bromine, iodine or chlorine) held together in a cubical arrangement by electrical attraction. When the crystal is struck with light, free-moving silver ions build up a small collection of uncharged atoms. These small bits of silver, too small to even be visible under a microscope, are the beginning of a latent image. Developing chemicals use the latent image specks to build up density, an accumulation of enough metallic silver to create a visible image.

The emulsion is attached to the film base with a transparent adhesive called the subbing layer. On the back of the base is a layer called the anti-halation backing, which usually contains absorber dyes or a thin layer of silver or carbon (called rem-jet on color negative stocks). Without this coating, light not absorbed by the emulsion and passing into the base would be partly reflected back at the outer surface of the base, re-exposing the emulsion in less focused form and thereby creating halos around bright points and edges in the image. The anti-halation backing can also serve to reduce static buildup, which could be a significant problem with early black-and-white films. The film, running through a motion picture camera at 12 inches (300 mm) (early silent speed) to 18 inches (460 mm) (sound speed) per second, could build up enough static electricity to cause sparks bright enough to record their own forms on the film; anti-halation backing solved this problem.

Color films have multiple layers of silver halide emulsion to separately record the red, green and blue thirds of the spectrum. For every silver halide grain there is a matching color coupler grain (except Kodachrome film, to which color couplers were added during processing). The top layer of emulsion is sensitive to blue; below it is a yellow filter layer to block blue light; and under that is a green-sensitive layer followed by a red-sensitive layer. Just as in black-and-white, the first step in color development converts exposed silver halide grains into metallic silver – except that an equal amount of color dye will be formed as well. The color couplers in the blue-sensitive layer will form yellow dye during processing, the green layer will form magenta dye and the red layer will form cyan dye. A bleach step will convert the metallic silver back into silver halide, which is then removed along with the unexposed silver halide in the fixer and wash steps, leaving only color dyes.

In the 1980s Eastman Kodak invented the T-Grain, a synthetically manufactured silver halide grain that had a larger, flat surface area and allowed for greater light sensitivity in a smaller, thinner grain. Thus Kodak could solve the problem of higher speed (greater light sensitivity—see film speed) which required larger grain and therefore more "grainy" images. With T-Grain technology, Kodak refined the grain structure of all their "EXR" line of motion picture film stocks (which was eventually incorporated into their "MAX" still stocks). Fuji films followed suit with their own grain innovation, the tabular grain in their SUFG (Super Unified Fine Grain) SuperF negative stocks, which are made up of thin hexagonal tabular grains.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Camerapedia, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., "PH22.36-1954, American Standard, Dimensions for 35 mm Motion-Picture Positive Raw Stock",  American Cinematographer, American Widescreen Museum, Fujifilm Motion Picture Films, Kodak: Cinematography, Paul C. Spehr

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.

TALENT AGENT… (In the Entertainment industry. What does a talent agent do?)

Photo Credit: Zazzle.com

TALENT AGENT… (In the Entertainment industry. What does a talent agent do?)

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

Talent Agent

A talent agent is someone who represents professional actors, writers, performers, musicians, artists and athletes. Talent agents work on behalf of their clients to promote and represent their interests, and will typically handle the majority of all interactions between their client and the employer.

Having an agent is not required, but does help the artist in getting jobs (concerts, tours, movie scripts, appearances, signings, sport teams, etc.). In many cases, casting directors, or other businesses go to talent agencies to find the artists for whom they are looking. The agent is paid a percentage of the star's earnings (typically 10%). Therefore, agents are sometimes referred to as "10 percenters." Various regulations govern different types of agents. The regulations are established by artist's unions and the legal jurisdiction in which the agent operates. There are also professional associations of talent agencies.

Talent agents are considered gatekeepers to their client's careers. They have the ability to reshape and reconstruct their client's image. They are dealmakers and assist their client by orchestrating deals within the entertainment industry, more specifically in the Hollywood entertainment industry.

What does a Talent Agent do?

In general, a talent agent acts as a middleman between talented creative types and those that are looking to hire them. Talent agents may either actively seek out clients to represent, or have entertainers and artists contact them first. The latter scenario is much more common for entertainers who seek representation for the first time. More experienced entertainers and artists may change their agent as their career matures.

In some cases, Agents are also responsible for brokering deals for filmmakers. Effective Film Sales Agents must be able to negotiate, draw up contracts, and deal with international client and Distributor demands.

Agents usually work with Delivery services, which dispatch all the necessary materials to Distributors eg the release print, inter-negative, inter positives, sound masters, script and legal documents. Because films are sold to a large number of territories, this work is ongoing.  Agents must also provide regular financial accounts for client filmmakers, including a breakdown of costs and income for each film.

Film Sales Agents need to continually acquire new films so regularly attend screenings and festivals, and meet with new filmmakers. They also promote new films at various film festivals and markets; at lavish premiere parties, or film screenings; or by providing VHS/DVD copies for potential buyers. If a film does not sell, it may be necessary to launch a revamped campaign in order to re-sell it to Distributors.

The job duties of a talent agent involve a fair amount of communication and negotiation with prospective employers. Advances in information technology have allowed talent agents to perform much of their job duties online, but at the end of the day, person-to-person contract negotiations determine the final outcome.

Typically, talent agents spend the majority of their time making phone calls or contacting employers and potential clients online. Selling a client's talents to prospective employers takes up a large amount of the agent's day, and the most successful talent agents come up with new and innovative ways to accomplish their goal. Occasionally, something as simple as treating an employer's representative with a nice dinner is all it takes to finalize the signing of a client.

Talent agents promote the talents of their clients in addition to performing other marketing duties. Essentially, the amount of marketing considerations talent agents must consider depends upon the specific industry in which an agent operates. Sports agents, for example, have to consider many more marketing implications than an agent representing a painter or a writer. Talent agents representing actors and actresses have to consider their client’s marketing potential as well.

Depending upon a talent agent's area of expertise, the daily job duties may also include visiting music studios, concert venues, a record label's corporate office, a publisher's office, performance halls, and movie studios. A talent agent would do well to attend as many social events as possible in order to network efficiently and discover insider information about the current state of the movie business. When working on behalf of their clients, every contact an agent can make matters a great deal, more than an agent's clients may realize.

To do this you will need to: 

• Representing filmmakers looking for distribution deals for their films…
• Working with filmmakers to develop marketing strategies….
• Delivering all the elements of the film to the Distributor…
• Have strong business and managerial skills…
• Understand the film industry thoroughly from script, to finance, to post-production…
• Have a good eye for new talent…
• Be enthusiastic and charming…
• Have a good knowledge of current film trends…
• Have good marketing skills…
• Be flexible…
• Be a good negotiator and salesperson…
• Have good language skills to work internationally…
• Be willing to travel and embrace different cultures… 

Difference between agents and managers

The difference between the roles of agents and managers has become smaller and more blurred. A frequent definition of the role of a talent manager is to "oversee the day-to-day business affairs of an artist; advice and counsel talent concerning professional matters, long-term plans and personal decisions which may affect their career." Considerable overlap exists as talent agents may opt to fill exactly the same roles for their clients out of a financial interest in developing the careers of their talent and currying their favor.

Various state laws and labor guild rules govern the roles reserved to agents, as well as specifying certain special rights, privileges, and prohibitions. In the state of California, the labor code requires licensing of talent agencies and includes regulations such as criminal background checks, maintaining separate operating accounts and client trust accounts, and limits total commissions to twenty-five percent, among other regulations. In contrast, management companies are described as "often unregulated." Agents also have certain privileged powers in situations of verbal agreement and can legally agree to a binding employment offer on behalf of their client.

A prominent difference between agents and managers under California state law is that licensed talent agents and employment agents are the only entities legally allowed to seek work on behalf of their clients. This legal distinction has enabled artists such as the Deftones, Pamela Anderson, Nia Vardalos, Freddie Prinze Jr., and others to break contracts with their managers and avoid commissions owed according to those contracts by proving "unlicensed procurement" in court. Because the enforcement against talent managers procuring work is largely carried out through civil litigation and not criminal penalties, managers directly seek out work in defiance of state laws, as clients out of self-interest will seldom object to them doing so and cases alleging illegal procurement are infrequent.

The Writer's Guild, Screen Actor's Guild, and Director's Guild, among labor guilds, strike agency franchise agreements that specify certain regulations and privileges reserved solely for agents including setting maximum commissions at ten percent of a talent's gross earnings. Managers do not face the same restrictions.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Sokanu,

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 MIXER… (In the Entertainment industry. What does production sound mixer do?)

Sound technician with mixer, boom, slate and multiple wireless mic transmitters and receivers 

/ Credit: Patty Mooney CC BY-SA 4.0

PRODUCTION SOUND MIXER… (In the Entertainment industry. What does production sound mixer do?)

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

Production Sound Mixer

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.

While many sound technicians have degrees, it's more important to have acute hearing, technical knowledge and evidence of work experience

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.

Sound technicians are required in a range of industries including:

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

Responsibilities

Your responsibilities will vary depending on whether you work in:

• Production - the recording of all sound on set or on location…
• 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.… 

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.

Skills

• You will need to have:
• Excellent aural skills…
• Scrupulous attention to detail…
• General technical ability, dexterity and agility…
• The ability to work as part of a team…
• Problem-solving ability…
• Good sense of timing and swift reactions… 

Work experience

You'll need practical experience to secure work as a sound technician. You can find part-time work or placements in recording and editing studios, or community and hospital radio stations.

Experience of working for equipment manufacturers can also be helpful as it will build up your technical knowledge.

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, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., David Yewdall. The Practical Art of Motion Picture Sound, John Purcell, Dialogue Editing for Motion Pictures: A Guide to the Invisible Art, Vincent Magnier, Le guide de la prise de son pour l'image, Jay Rose, Producing Great Sound for Film and Video, Longoria, Sam. Make Your Movie Sound like a Real Movie, Martinez, and Carlos E. Location Audio for Any Budget, An Introduction Rose, Jay Film/video tutorials written for DV Magazine and others, Prospects,

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.

BALLOON LIGHTS… (In the Entertainment industry. Balloon Lighting)

Balloon Lighting, Klan Shoot Out in the Swamp, Bad Boys 2 / Photo Credit: Bruce Bisbey

BALLOON LIGHTS… (In the Entertainment industry. Balloon Lighting)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com

Balloon Lighting

Balloon lights (also called lighting balloons) are a specialized type of luminaire used primarily for lighting in the motion picture industry, night highway construction, incident management, and public security applications such as police checkpoints. These luminaires typically consist of one or more high-intensity lamps surrounded by a translucent fabric balloon. The balloon acts as a diffuser to soften and disperse the light. The upper portion of the balloon sometimes has a reflective inner coating to direct more of the light downward. Some commercial products use a blower to expand the balloon, while others have an umbrella-like internal wire frame. The device is essentially an industrial version of a Japanese paper lantern.

The lighting balloon was first patented in Germany on October 26, 1924 (patent #427894). Until the 1990s, several patents were issued, although the application was utilized very little in Western countries. The lighting balloon industry has been greatly modernized by the company Airstar.

Airstar

In 1994, Pierre Chabert and Benoit Beylier, founder of Airstar, a French company based in Grenoble (Isère), created a balloon light, a self-supporting spacelight suspended in a helium-inflated balloon. It is ideal for interiors or exteriors where rigging is a problem. One of the first movies ever lit with this kind of system, which was supplied by Airlight Industries, was Titanic, directed by James Cameron. Later they were used in the Opening Ceremony of the 2000 Summer Olympics in Sydney, the lighting set for Pirates of the Caribbean, Rang De Basanti, Sivaji, Avatar, Singapore Grand Prix and the Vancouver Olympics.

Airlight Industries

In 1995, entrepreneur Julian Del Valle of Newport Beach, California discovered AIRSTAR lighting balloons at a private event demonstration in Los Angeles. He created Airlight Industries to become the first distributor of Airstar lighting balloons in the United States with the intent of using them in the film industry. Del Valle represented Airlight Industries with Airstar products at Show Biz Expo 1995. At the show, he met director of photography and gaffer Tony Nakonechnyj, and supplied him with AIRSTAR balloons for Disturbing the Peace. That was the first use of a lighting balloon on a motion picture set in the United States. It was immediately followed by supplying all lighting balloons on the set of Titanic, aiding Russell Carpenter in winning the Academy Award for Cinematography.

Available Light

In 1996, Available Light becomes the first company to introduce lighting balloons to the film and television market on the East Coast of the US. Available Light also decided to require operators for their balloons, becoming the first company in the United States to do this. In making this decision, Available Light created the category of Lighting Balloon Technician. They choose Airstar balloons, and introduce them to the East Coast market in film, television and commercials. The business is a perfect complement to the company that is an industry leader in specialized lighting for these markets.

Powermoon

Tripod-mounted balloon light in an incident management application.

In 1998 German based Noelle IUT GmbH developed (next to its air-inflated systems) a patented spring-loaded 'umbrella-style' balloon light called Powermoon®. Looking to serve industries which are known for their tough work environments and rough treatments of tools (Construction, Fire Rescue EMS, Military, Law Enforcement, Farming etc.), Powermoon® mechanical balloon lights differ from air-inflated system in that the balloon inflation is realized with springs that open and close the balloon cover strictly mechanically, making it a reliable solution while offering the same glare-free and shadow-diffused light quality known from air-inflated systems. Quickly becoming a real alternative and eventually market leader in the European market, Powermoon® Enterprises Ltd incorporated in the US in 2005, distributing its technology from Atlanta GA to all of North and Central America.

With its focus on reliability in rough work environments, Powermoon® in 2012 also was the first balloon light manufacturer to offer balloon lights equipped with high-powered LED (light-emitting diode) lighting systems which were able to compete with traditional bulb and lighting technologies in the ability to cover large areas. Not only was LED technology much more reliable and durable in rough work environments, but it also offered higher efficiency, better light quality and closer to daylight color rendering (5500K). Since LED allowed for usage on DC (direct current) and AC (alternating current) systems, Powermoon® decided to introduce a shift in paradigm by offering high-powered lighting systems on AC as well as DC, making LED balloon lights available for usage on all types of DC battery-supported systems (trucks, construction machinery, EMS vehicles) as well as all AC power systems (main outlets, generators etc.). Offering availability of this amount of area lighting for DC supported vehicles and machinery earned Powermoon® in 2014 the award "Asphalt Contractor's Top 30 Editor's Choice Products".

Sourcemaker, Inc.

Peter Girolami purchased Airlight Industries in 2001 and reopened as Sourcemaker, Inc with the goal of creating custom lighting balloons for the film industry. Girolami rented the purchased lighting balloons but experienced difficulties purchasing replacement parts from Airstar because of bad payments. Girolami then began to manufacture his own replacement parts. He researched new materials and laminates to create a softer quality of light that is UV protected to prevent yellowing of the balloon envelopes. He also developed the cube and rectangle-shaped lighting balloons with new durable materials and the first helium-tight internal reflector to help control ambiance on film sets. The new shape allowed the cinematographer and gaffer to black out any side by attaching lightweight materials. Gaffer Russ Engels used the first cube-shaped lighting balloon.

Novo Lighting Ltd.

Novo Lighting Ltd was founded in 2012 by Dylan Paul and Joern Novotny in Vancouver BC Canada. Novo Lighting provides balloon lights in tube, spherical and cloud shape to the local film industry in Vancouver and British Columbia. The balloons are manufactured by TEXXOCOM owned and operated by Fabian Friedrich.

Balloon shapes

• Spherical and near-spherical is the most common variety. The shape of the units demonstrate wind resistance…
• Cubic - cuboid balloons with rigging points at the corners, "Diamond series by Airstar", "Ceilair by Airstar", useful for cutting the light with reflector panels…
• Tube - cylindrical shape, with a more "directed" light. AIRSTAR…
• Cloud - Grip balloon, low profile tuboid. Intended to semi-block the sun. Used by grips…
• Alternative lighting sources… 

Light types:

• Tungsten…
• HMI…
• Metal halide…
• Mercury vapor…
• Sodium vapor…
• Light Emitting Diodes… 

HMI Helium Balloon Lights

Filled with helium gas, the Lunar HMI Helium Balloon can illuminate areas ranging from 1200 to 36,000 sq. yards (1000 to 30,000m²) with unequaled power. Thanks to the shape and the envelope texture, the HMI Lunar Balloons diffuses gentle, glare-free light, equivalent to daylight, providing high performance, all round illumination.

Operation is simple – the light is tethered to the ground, then inflated with helium, and the balloons rise to the correct height. The HMI Balloon is available from 2000W to 12000W, which produces remarkable 1,200,000 lumens*. It provides an evenly distributed light, with no hot spots or shadows, and achieves 6000° Kelvin – making the light almost identical in color and brightness as daylight.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Airstar, Available Light, Sourcemaker, Powermoon, Lunar Lighting

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.

SHOOTING FROM A HELICOPTER… (In the Entertainment industry. 10 Tips for Shooting from a Helicopter)

Fly Over London / Photo Credit: YouTube

SHOOTING FROM A HELICOPTER… (In the Entertainment industry. 10 Tips for Shooting from a Helicopter)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com

Shooting from a Helicopter

Aerial videography has exploded in the last couple of years largely because of drones. But did you know that aerial photography has been around for decades with the use of planes and helicopters? As great as drones are, there are a lot of benefits to shooting aerials from a helicopter over a drone, too.

Getting a bird’s eye view for your productions can increase production value and audience engagement immensely. It’s a perspective that will never get old and sometimes entire videos are shot with just drones.

You all know we’re big fans of drones. Drones are popping up everywhere- military, toys, surveillance, racing and photography/videography drones.

Drones are not without their flaws and limitations, though. The largest drawback to drones is the lens options available and flight time. The most popular drones are quadcopters, meaning they have 4 rotors, and can only carry a very light payload or camera. Thus, the GoPro is most popular camera for drones today.

Despite the fantastic image quality of Go Pros they are severely limited in the lens choice available. In fact, you only have one choice of lens with any GoPro camera.

You do, however, have a few different shooting options ranging from Super Wide, Wide, Medium and Narrow- but these options simply crop in on the same lens.

There are times when you want to use to better optics for aerial photography because your project demands it. You can use a larger drone, such as a hexacopter or octocopter, which have six and eight rotors respectively, which can carry larger cameras with interchangeable lenses.

Drone batteries currently last about 20 minutes in the best case scenario. Best practices suggest that you always land your drone with you have 15% battery left. A drone that runs out of batteries mid-flight can be very dangerous and land on innocent bystanders or damage property.

Shooting with a helicopter means you can go higher and cover larger areas in a quick amount of time. You’ll be under strict FAA regulations but if you have an experienced pilot you can get away with a lot.

Helicopters are great for aerials and allow you to do so much. Here are the best benefits of shooting from a helicopter: 

• Camera and lens options available are nearly endless…
• Time in air is very, very long. You can easily spend hours in a helicopter…
• Area coverage is vast…
• Height and speed are much less limited vs a drone… 

Top 5 Tips for Shooting from a Helicopter:

1. Book with the right operation. Go with a well-recommended outfit. An operation that has pilots who understand photographer/filming needs is essential. Photographers and filming have unique time pressures around light and weather considerations – it works out better when your pilot and ground-team understand this.

This may seem obvious, but it is crucial to consider the results you will achieve based on the time of day that you book your flight. Sunset flights are always in high demand, but perhaps a daytime flight with particular weather suits your needs best, or an epic sunrise flight. Know what you want based on the weather and the location you are photographing for a better flight.

2. Doors Off, Please… If at all possible, fly with the doors off. Make sure that the doors can come off for photography and filming. And then make sure they are off when you arrive. Depending on your situation, you may be able to request this (assignment) or not (vacation helicopter ride). Always ask. But also realize that it can get cold with the doors off, so be prepared for the temperatures.

Shooting through any glass affects the resulting image and that is why it is ideal to have no barrier between you and your subject. Liability reasons often prevent, or dissuade, certain operators from removing doors while others tout it as a perk, such as volcano tours in Hawaii who boast that you can ‘feel the heat’ (in a safe way).

You will likely be buckled in with a four or five point harness. This means a strap over each shoulder and then a lap belt as in a car. It will limit your movement more than your car seatbelt will, but with some wiggling, you will find you can still turn sideways out the door to get your shot.

Also, if you are lucky enough to get a ride with the doors off, realize it is harder to change lenses. Not only that, you will need to secure your equipment and there may be controls in the way if you are sitting up front.

To help with all of this, simplify and be safe. I have used some clips normally used from rock climbing to help secure my camera around my belt or the safety harness in the helicopter. Some type of tether is good piece of mind as you will be in a new environment and one slip will mean a lost camera.

A tether for your bag is also a good idea, but if you’re simplifying, you will leave the bag behind. A photographer’s vest, with pockets for filters and the like, can be very handy to keep things secure and close.

3. Dress warmly.

No matter what time of year it is. The rotors make it chilly. This one may seem obvious, but is so essential if you want to focus on taking good pictures. For your flight (especially if your helicopter is open door), you will want fitted clothing that won’t fly away, with more warmth than you may need at ground level since it gets windy and cold when you’re up there.

Gloves are essential in any cold climate flight as they help keep your hands focused on taking pictures and not losing feeling, all of which will contribute to a happier and more successful first flight.

4. Use a safety harness.

Attach yourself to copter at two points (e.g.: the frame and floor) plus your seatbelt. If you do not have a harness – tape the seatbelt clasp liberally with gaffers tape. Ideally you can move about freely. Note: a regular climbing harness and carabiner will work in a pinch but the full-body roofer harness is preferred.

5. Use camera exposures of higher than 1/1250s. Ideally 1/1600s or greater. This will insure that your shots are free of motion blur. There is lots of motion see inside a copter that you can see and not see (both high and low frequency). Adjust the rest of your settings (ISO/Aperture) to get the proper exposure around that shutter speed.

6. Watch the Blades and Skids

Be aware of the helicopter rotor blades and skids (the ‘feet’ the helicopter stands on while on the ground) not only for your safety, but also for framing your shot. Before the helicopter takes off, judge your widest focal length before the blades or skids start to show. Once airborne, check again with some test shots.

The thing with the blades is, they can be finicky. If you are taking a shot and need the vertical elements in it, and know the blades will interfere, you can still shoot a high-speed series of images and it is likely that one will not have a blade in it. It’s a timing issue and while the blades are turning thousands of times a minute, it can be done. From my own experience, I have found one in eight shots was clean of any blades.

Knowing your limits will save you time and frustration in post-processing later.

7. Bring Two Cameras if You Can

Changing lenses without introducing dust inside the camera while the wind whirls around is impossible. Not only that, you stand a decent chance of dropping gear and never seeing it again. For these two reasons, it is a good idea to bring two cameras with two different lenses; a telephoto zoom and a wide angle zoom. I suggest a zoom for the wide angle because you won’t know in advance the maximum angle you can achieve before rotor blades and skids begin to appear.

Having a couple of lenses with varying focal lengths is handy when shooting from a helicopter. You will not always be able to get closer to a subject physically, but a telephoto zoom can.

8. Communicate

We all know communication is important and that goes doubly when photographing from a helicopter. Chances are you will have a headset during your flight which allows for muting the sound of the engine and rotor and also for talking with others onboard, including the pilot. Some units are voice activated, some require pressing a switch which can cause frustration when you realize you’re telling the pilot to hold steady and he or she can’t hear you.

Before take-off, before the blades start churning, talk with the pilot about what you want to accomplish on the flight. Let them know what’s important to you and where you might want to spend some time loitering.

Your job was made easier by communicating what you want to shoot. If you are on a sightseeing trip with others, your options may be limited, but it is still important to let the pilot know what is important for you to clearly photograph, which is different than just ‘seeing’ it.

9. Stay Inside

While it is hip and cool to imagine yourself hanging from the side of a helicopter to get that once in a lifetime shot, chances are your experience won't be as spell binding. The guys that get those assignments (and pay the insurance premiums) aren't reading this right now unless they are thinking of ways to correct me.

And that's you should stay in the helicopter. The moment you lean outside the protection that the shell of the craft affords, the downdraft can be punishing and knock you seven ways to Sunday. The same goes for poking your lens out a window.

And it will be useful, but the moment a long lens gets too far outside, the rush of air will cause a lot of vibration. Try to keep the end of lenses out of the airstream for sharper images.

10. Increase Your ISO and Shutter Speed

Lastly, helicopters vibrate. Some a little. Some a lot. And they can be bouncy or smooth. My suggestion is to increase your ISO toward the high end of what you find is tolerable. Along with that change, as most of your subjects will be far away from the camera, choosing a wider aperture in Aperture Priority mode will help speed up your shutter speed. All of this is in effort to reduce camera shake. Certainly bring your image stabilizing lenses or camera bodies, which will help.

Most of all, don't forget to lower your camera from your eye from time to time and simply enjoy the fact that you're flying! Shooting from a helicopter can be a great experience and I hope you make the most of your time in the sky.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Film Finance Inc., Chase Jarvis, Tuts Plus, Envato Tuts, Peter West Carey, Tar Productions

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.