VIDEO SUPERVISOR IN FILM PRODUCTION… (In the Entertainment industry. Video Supervisor in Film Production)

Video Camera Report Daily Sheets/ Photo Credit: Filestage

VIDEO SUPERVISOR IN FILM PRODUCTION… (In the Entertainment industry. Video Supervisor in Film Production)

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

Video Supervisor in Film Production

During preproduction of a live show, the video supervisor is the right hand of the projection designer and will eventually be tasked with maintaining the design once the show opens. This person is a veteran video technician who exhibits excellent leadership skills in conjunction with technical proficiency.

Duties

The video supervisor on a theatrical production is responsible for overseeing the work of the video technicians and video camera operators. This person may also take on an administrative role as a department head, tasked with preparing and monitoring the video budget and payroll. The supervisor is chiefly concerned with the smooth operation of all video and projection elements during a live performance; to that end, he or she will observe crew members’ work in show and give notes for improvement. The video supervisor will also track the progress of maintenance and repairs to equipment, and delegate assignments to technicians as necessary. In some cases, he or she may be assigned a show track as a camera operator or video switcher and will typically learn all video positions, so as to be prepared to step in for another crew member. This person is also responsible to the projection designer in ensuring that the design integrity is preserved during the life of the production. When in rehearsal with the designer, he or she is the liaison that delegates work on the installation and leads the load-in.

Skills & Education

As a crew chief, the video supervisor is expected to learn every position in the video department and be the resident expert on all video and projection equipment used in the production. This requires a firm understanding of camera operation, video switchers, media servers, and projectors. He or she must also be competent in troubleshooting gear and making repairs to electrical equipment. The video supervisor should be experienced in the use of video editing software like Final Cut and Avid products. A college degree in video production or film is recommended, and specific training as a video camera operator is expected. It is also necessary to understand the techniques of videography; courses in still photography are beneficial.

What to Expect

The look of video elements in show and proper function of related equipment ultimately rests on the video supervisor’s shoulders. As such, this person should take care to properly coach technicians within his or her department and act quickly to correct poor performances. Veteran technicians who are new to the supervisor rank may find it uncomfortable to be in an authority role, inflicting disciplinary actions on their crew, but if the show looks bad, the supervisor will be the one getting an earful from the stage manager and technical director. If the designer makes a surprise visit to check on the look (which they spent months perfecting) and finds the visual elements have been butchered, you may not have the burden of authority for long.

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

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.

Video Camera Report Daily Sheets/ Photo Credit: Filestage

UNIT PRODUCTION MANAGER IN FILM PRODUCTION… (In the Entertainment industry. Unit Production Manager in Film Production)

Unit Production Manager / Photo Credit: Justdial - Yousufguda - Hyderabad Film Studios

UNIT PRODUCTION MANAGER IN FILM PRODUCTION… (In the Entertainment industry. Unit Production Manager in Film Production)

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

Unit Production Manager in Film Production

A unit production manager (UPM) is the DGA–approved title for the top below-the-line staff position, responsible for the administration of a feature film or television production. Non-DGA productions might call it the production manager or production supervisor. They work closely with the line producer. Sometimes the line producer is the UPM. A senior producer may assign a UPM more than one production at a time.

The role of a unit production manager is similar to that of a line producer, in that the UPM is hired by the producer during preproduction to oversee the budget and scheduling of a film or television show through the end of principal photography. Line producer is a role recognized by the Producer’s Guild of America, but a UPM is a member of the Director’s Guild of America and works under a bargaining agreement between the union and the studio or production company.

Responsibility to a senior producer

A UPM is usually hired by a film producer or television producer, and is responsible for managing the production and regulating the costs of delivering the expected film or television show on budget at the end of principal photography. Based on a shooting script, the UPM will create a working budget during pre-production, prior to the start of principal photography, thereby charting a recommended budgetary course. Typically, a producer will oversee all the cost-related decisions, including above-the-line expenditures (especially during pre-production). However, the UPM is responsible for the more detailed planning and execution of the below-the-line costs (primarily for physical production). The film's director will select important department heads (keys) or support personnel related to his work, including the casting director, cinematographer, costume designer, production designer, and film editor. For below-the-line matters, the UPM often negotiates deals (for location, equipment, etc.) and hires the remaining crew, typically on the recommendation of the keys and/or based on prior experience with trusted individuals.

The UPM frequently does not have any direct responsibilities with the creative direction of the film's narrative, although in some cases he will and can be consulted. Many budget decisions affect the creative direction of the project. He or she is to support the director's artistic vision on a daily physical production level.

Before principal photography begins both the producer and UPM work to secure as many of the production elements as possible, including a workable schedule and budget. Usually from a production office during pre-production, they may later divide their time between the office and the set while the film is being shot. An on-set trailer may also be used as a makeshift production office. Like nearly all members of a film crew, UPMs will typically remain on the shoot until the end of principal photography and can return if there are any reshoots. It is not atypical for a UPM to work 80-100 (or more) hours per week while a film is in production.

In the US, a union UPM is represented by The Directors Guild of America. Certain conditions must be adhered to on a union shoot in order to remain in good standing with the DGA. These include expected salary rates, working hours, overtime penalties, required meals and other related criteria.

Highly experienced UPMs bring great value to a project for their strategic and creative problem-solving skills. These individuals will positively affect the film's budget as well as the final outcome and quality of the film on multiple levels.

Duties

In preproduction, the UPM is responsible for preparing a preliminary shooting schedule and below-the-line budget by breaking down the script and assessing time and cost. This person will also work with the location manager to search for and survey all shooting locations and secure permission contracts. The UPM will participate in the hiring of below-the-line crew and coordinate arrangements for housing and transportation, as well as obtaining rental agreements for gear and materials. During principal photography, the UPM will have final approval over all financial expenditures, approve salary and time sheets for crew, and sign off on each day’s call sheet. The unit production manager is also the producer’s eyes and ears on set; production reports are produced daily detailing the shoot’s progress, costs incurred, and changes made to the schedule or budget. If the film or show is lagging behind projected goals, the UPM must step in to identify the cause and take action to get the shoot back on track. Ultimately this person is responsible to the producer (the person signing the checks) to keep the project on time and on budget.

This is a logistical role that requires balancing what the director wants against what the budget will allow. If a scene is running over schedule, the UPM may have to cut staff or draw funds from one line item to give to another. When conflicts arise that threaten the smooth operation of the crew, the unit production manager will step in to mediate the situation and decide on a course of action. It’s not a creative role, but the person in it does have authority to terminate crew employment, alter the equipment and materials lists, or advise the director on what is and is not feasible under the budget and schedule.

Skills & Education

Production managers are highly experienced veterans of the film and television industry. A college degree in film/TV production is advantageous, giving you a firm knowledge of the equipment, job functions, and techniques related to the industry. Courses in finance, human resources, mathematics, statistics, and entertainment business are also invaluable to a UPM. The most important skill a unit production manager can have is the ability to look at the script and instantly know what each element will cost and how long it will take to shoot. That is not easily taught, but comes with experience and a good mind for numbers.

What to Expect

A unit production manager must be a skilled diplomat capable of devising compromises. The UPM controls the purse strings and must be prepared to say no when the director is insisting on six more hours of shooting and the crew is about to hit overtime. A UPM who goes over budget and over schedule will not get much work, but if you can offer creative solutions to complex problems, you will be a sought-after professional. You can reach this role on-set through experience as an assistant director or through the production office as a production coordinator or assistant production manager. A UPM can move up from small, low-budget productions to larger films and television series or can parlay his or her experience into work as a producer.

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

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.

Unit Production Manager / Photo Credit: Justdial - Yousufguda - Hyderabad Film Studios

TELEVISION DIRECTOR IN TV PRODUCTION… (In the Entertainment industry. Television Director in TV Production)

TV Control Room / Photo Credit: Yactraq

TELEVISION DIRECTOR IN TV PRODUCTION… (In the Entertainment industry. Television Director in TV Production)

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

Television Director in TV Production

For the director, television is a very different beast. In film production, he or she is the ultimate creative voice on set, but on the small screen, the director has a far more limited role and is constrained by the show’s format. Multi-camera shoots, live productions, and sitcoms each present unique challenges unlike that of a movie.

Duties

The director’s responsibilities vary greatly depending on the format of the television series. Single-camera dramas like Heroes and CSI are shot in short, non-sequential segments based on the logistics of camera and lighting setups, then edited together later. In this format, the director has the most creative freedom and performs much like a film director—the exception being that the show’s producers and creator have predetermined decisions on production design and characterization. Multi-camera programs, which range from live news and sports broadcasts to game shows, take the director off the set and place him or her in a control booth to call out cues based not on a script, but on instinct. With eyes glued to a wall of screens, the director requests desired shot angles and positions from camera operators while simultaneously ordering the switcher to initiate cuts between each signal. This job is less artistic and more of a test of nerve and organized thinking—though still creative. When Oprah’s guest is breaking down on the couch, it’s the director who calls for the camera to slowly close in and catch the first tear, then cuts to the audience reaction; the intent is to elicit the greatest possible emotional response from the viewer at home.

Sitcoms are a hybrid form, more likely to be shot in a multi-camera format on film cameras rather than video. Instead of the director calling live switches from a control booth, all cameras shoot the scene from different angles played to a live audience in proscenium style. The director here is most like a stage director, concentrating on blocking the actors’ movements and rehearsing their performance. Multiple takes are shot of the entire scene in real time, and the director works with the producer and editor to select the best takes for broadcast. Soap operas are the most unique and complicated television productions for a director. Scenes are shot live to tape, but require intricate blocking to accommodate the multiple handheld and standing cameras. The director has little time to rehearse the cast for the daily shoot; rather, this person works closely with the cinematographer, camera operators, and gaffer to establish composition, lighting, and set marks.

Skills & Education

Directors interested in prime-time dramas and sitcoms should begin with an education in film and television production; experience in theater and acting is also helpful. Those whose aspirations lie in news and sports are better served to attain a college degree in broadcast journalism. A formal education is not a uniform requirement, though it will provide you with the necessary knowledge of lighting, camera composition, editing, and the production process.

What to Expect

In television, most of the creative control lies in the hands of the executive producers and writers; directors are often hired on a per-episode basis, and therefore are not given a great deal of latitude to make significant changes to the show’s formula. To train for this career, take jobs on television crews in the camera department, electrics, or post-production. Television direction has also been a successful training ground for future film directors like Steven Spielberg, Robert Altman, and Sidney Lumet.

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

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.

TV Control Room / Photo Credit: Yactraq

SUPERVISING SOUND EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Sound Editor)

Sound Editor / Photo Credit: Chris Roberts - Twitter - Encore London RTS

SUPERVISING SOUND EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Sound Editor)

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

Supervising Sound Editor in Motion Picture Production

The supervising sound editor is a department head who oversees the entire post-production sound crew, including the music editor, sound editor, Foley artist, and ADR editor. He or she is ultimately responsible for the completion and quality of all sound editing, and answers to the producer and director.

The Supervising Sound Editors’ role varies according to the budget and scale of each film. On low to medium budget films they start work when the picture Editor has achieved picture lock (the Director and/or Executive Producer have given final approval of the picture edit) . They have a hands-on role, often cutting dialogue, ADR, Foleys and special effects. On big budget films, they usually start work before shooting begins. They appoint specialist Sound Editors to supervise separate teams for each area of work.

They are responsible for the sound budget, organizing the work flow and making plans for any special requirements such as CGI (Computer Generated Images).

After picture lock, Supervising Sound Editors attend a “Spotting Session” with the Director and other Sound Editors. This is when they discuss any concepts for the overall feel of the sound (naturalistic or stylized), and check every sound effect and line of dialogue to see what ADR or Foleys may be needed.

During this stage, Supervising Sound Editors oversee the recording of fresh dialogue by the actors, Foleys by Foley Artists, sound effects and sometimes the music. These are all prepared for preview screenings.

After audience previews, the Producer(s) and financiers usually require films to be re-cut. The Supervising Sound Editor will oversee several more mixes before the Pre-Mix of the film, where all sound inconsistencies are smoothed out. They need to make sure the Final Mix runs smoothly, working closely with the Re-Recording Mixer.

The whole process can take between two and 12 weeks, depending on the scale of the film. After the Final Mix, the Supervising Sound Editor usually oversees the ‘deliverables’. These include the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.

Supervising Sound Editors may also work as Sound Designers on the same film. They can be employed by Audio Post Production Facilities Houses, or work on a freelance basis. They usually hire a room close to the picture Editor(s), and provide their own equipment. Supervising Sound Editors work long hours under considerable pressure.

Duties

On low-budget productions, the supervising sound editor may not be hired until the final picture edit of the show has been approved, in which case he or she is therefore responsible for most of the physical sound editing, re-recording, and mixing. This type of gig involves a much smaller crew; generally, the supervising sound editor will have only one or two additional pairs of hands. Medium- or big-budget productions typically bring the supervising sound editor on board during pre-production, where he or she is heavily involved in the creative planning process and is given ample time to hire and prep a large crew of specialists. The supervising sound editor is always responsible for planning and monitoring the post-production sound budget, securing equipment rental, scheduling staff, and establishing the workflow of the department.

At spotting sessions (where the final picture edit is reviewed before completed audio track), the supervising sound editor will confer with the director and producer to gain a greater understanding of their creative objective for the sound of the film, discuss ideas and special effects, and take notes on ADR or Foley that must be added. Following this session, the supervising sound editor assigns his or her crew to the tasks necessary for completing the show’s audio track: recording new dialogue, creating sound effects, etc. This person is hands-on with the crew to guide their work and ensure adherence to the director and sound designer’s intent. Major studio releases will typically go through a short preview-screening period, after which it is common for additional picture and sound edits to take place. The supervising sound editor will therefore oversee the final mix process until the product receives approval from the producers and studio executives.

Skills & Education

A formal education in film and television production with an emphasis on post-production sound editing is highly recommended, and further education in sound recording, music editing, Foley, dubbing, and related specialties is encouraged. Proficiency in both the creative and technical areas of audio production is necessary. Additionally, the supervising sound editor must be detail-oriented and organized, an effective leader and an excellent communicator. He or she should have the experience necessary to accurately estimate labor hours and costs in order to provide precise budgets for each project.

What to Expect

In some instances, the sound designer, depending on the production and preference of the producer and director, may perform the supervising sound editor’s role. The path toward this career begins as a union trainee or non-union intern in the post-production sound department of a film or television show. Depending on the size of the production, every film or television show is allowed to have one apprentice in each department. This work is usually unpaid, but not uncompensated: Offering your services for free is an excellent way to gain experience. From there, taking any role within post-production is a benefit to your career aspirations. However, you should identify as early as possible which areas of the post process interest you most. Employment opportunities are available for supervising sound editors within a post-production studio or as a freelance technician.

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

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.

Sound Editor / Photo Credit: Chris Roberts - Twitter - Encore London RTS

SUPERVISING EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Editor)

Film Editing / Photo Credits: Chris Frith - Film Editing Pro

SUPERVISING EDITOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Supervising Editor)

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

Supervising Editor in Motion Picture Production

Hired toward the latter part of principal photography in most cases, the supervising editor is the first point of contact between the director, producers, and the larger editing staff. He or she may give input as to the hiring of the editor and subordinate crew, and will be held accountable for the completion of the final cut. Where a supervising editor is not employed, the function of this position would fall to the picture editor.

Duties

The supervising editor consults directly with the producers and director, and is responsible for the oversight of the entire post-production editing process, including supervision of the final sound mix as it relates to the picture. He or she sets forth and oversees the post-production budget in collaboration with the producer and supervising sound editor, and arranges for the rental or purchase of equipment and post-production facilities such as editing suites. The supervising editor has oversight of the editing staff throughout the duration of the post-production process, and communicates regularly with the director and producers concerning artistic choices and deadlines. This person will design a clear workflow for editing and completion of the final cut of the film or show and will work with the supervising sound editor to ensure a fluid interaction between picture and sound editing.

Supervises and coordinates activities of workers engaged in editing and assembling filmed scenes photographed by others: Reviews edited and assembled film on screen or edited videotape on monitor, to detect errors. Studies script and confers with producers and directors concerning layout or editing techniques to increase dramatic or entertainment value of production. Trims film segments to specified lengths and assembles segments in sequence that presents story with maximum effect, or edits videotape to correct errors, using editing equipment.

Skills & Education

A college degree in film and television production is most useful, as this senior-level manager must be a technically and artistically proficient editor and understand the post-production process. He or she should have a firm understanding of sound editing, visual effects, Foley, and narrative storytelling. Courses in entertainment business, literary criticism, finance, accounting, photography, and the narrative form are also highly recommended. The supervising editor must be a highly organized individual who is capable of leading a large crew and monitoring the staff’s technical and creative performance. This person is the financial and logistical hawk that must ensure the post-production budget is upheld and that work is delivered on time.

What to Expect

While the supervising editor will not be the person at the Avid or Final Cut station, he or she should still have the chops and several years of professional experience as a film and digital video editor. The first step on the ladder in the editorial department (for picture editors) is the second assistant editor. This is an entry-level position and may be full-time or freelance. From there, you will work to move your career forward to the role of assistant dialogue editor, dialogue editor, first assistant editor, and so forth. Full-time positions are available for qualified candidates at post-production houses, which are contracted to complete editing on television shows and movies. Freelance opportunities also exist, but are harder to find; you’ll need to rely on networking to get tips on upcoming gigs.

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

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

Film Editing / Photo Credits: Chris Frith - Film Editing Pro

SPECIAL EFFECTS SUPERVISOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Special Effects Supervisor)

Special Effects Avatar / Photo Credit: James Cameron - NPR

SPECIAL EFFECTS SUPERVISOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Special Effects Supervisor)

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

 Special Effects Supervisor in Motion Picture Production

The supervisor generally is the department head who defers to the film's director and/or producers, and who is in charge of the entire special effects team. Special effects include anything that is manual or mechanically manipulated (also called "practical effects" or in camera effects).

Computer-generated visual effects have transformed film and television forever, and the applications grow ever more sophisticated. Yet there’s nothing like a live-action fireball resulting from the bad guy’s SUV careening off Mulholland Drive and onto the hillside below. For the real-life disaster drama of explosions, tidal waves, and earthquakes, the film and television industry rely on the talents and training of the special effects team.

Duties

Simply put, special effects are anything that gets blown up, smashed, crashed, destroyed, or otherwise demolished. SFX also covers artificial weather, water, fog, smoke, and other atmospheric effects, as well mechanical and electrical effects. At the head of the crew of mad scientists is the special effects supervisor; this person is responsible for supervising the planning and manufacturing of all SFX elements during pre-production, and will manage their safe and proper operation on set during principal photography. Additional responsibilities include preparing the department budget and scheduling crew. During production planning, the special effects supervisor works closely with the production designer and art director to establish the concept for each SFX shot and creates a breakdown of the script to identify location and relevant information related to the construction of special effects rigs. He or she will also participate in pre-production meetings with the director and cinematographer to plan for all necessary equipment, camera angles, and safety protocols in relation to shooting a special effects scene. With that information, the supervisor turns to his or her team of SFX technicians to prototype and test different rigs. When the director is pleased with the results, a final rig is built and delivered in anticipation of shooting.

On set, the special effects supervisor is in charge of setting up all special effects systems and operating the rigs. He or she may delegate responsibilities to additional crew as needed. This person is tasked with establishing safety procedures concerning SFX scenes, and will give a briefing to all cast and crew present on set during those shots. The SFX team may take as much time as required to ensure that all precautions have been taken to prevent injury or unplanned damage to equipment and property. If required by law, the special effects supervisor will cooperate with local and state officials and fire marshals to perform inspections before the cameras roll. Following the execution of a special effects scene, the supervisor will supervise the strike and suitable storage of all related equipment and materials, including the proper disposal of hazardous materials. It is the SFX supervisor’s job to see to it that the set is cleared and safe before shooting can resume on the set.

Skills & Education

A college degree in film and television production is useful, but a formal education in electrical engineering or mechanical engineering is encouraged. Training is necessary in handling explosives, high voltage, firearms, and other hazardous material and equipment. Courses in physics, advanced mathematics, and chemistry are recommended, as special effects are a science, not just movie magic. Both state and federal laws apply to the use of explosives and live firearms in entertainment production, and certifications and licenses may be required, depending on the nature of the work. You should be familiar with the applicable laws and take part in regular training updates concerning changes to regulations.

What to Expect

This career carries with it the immense responsibility of ensuring the safety of everyone on set, a duty that must be taken seriously. Considerable training and experience is necessary for this senior-level role, which requires several years of professional employment at the junior level. Special effects personnel are eligible for membership in the International Alliance of Theatrical Stage Employees, the union that represents technicians and artists in film, television, and live production. Entry-level roles within the special effects department on a union project are available for trainees and laborers as needed, providing apprenticeships under skilled veterans in order to learn the trade. Non-union positions also exist on union shows, and are often referred to as permit status workers. With experience on several productions, you may advance through the tiered structure of SFX assistants, beginning with the role of third assistant special effects.

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

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.

Special Effects Avatar / Photo Credit: James Cameron - NPR

SOUND DESIGNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Sound Designer)

Sound Design / Photo Credit: Indiewire

SOUND DESIGNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Sound Designer)

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

Sound Designer in Motion Picture Production

Sound Designer. Basic Job Description: The Sound Designer is responsible for obtaining all sound effects, whether recorded or live for a specific production. He/She is also responsible for setting up the sound playback equipment and must make sure the board operator is properly trained.

The lineage of the sound designer title can be traced back to Francis Ford Coppola, who granted the title to Walter Murch for his exceptional work in the creation of original sound effects and achievements in sound manipulation for Apocalypse Now. Coppola defined the role of the sound designer as “an individual ultimately responsible for all aspects of a film’s audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track.”

Duties

The sound designer is hired during pre-production, usually hand-picked by the director and producer. He or she oversees the sound department during post and may take on the additional responsibilities of the supervising sound editor, re-recording mixer, or other related role. The process begins with a thorough reading of the script, then the sound designer participates in initial design meetings with the director, editor, and production sound mixer to conceptualize the audio aesthetic of the film or show and to identify specific sound effects or qualities the director wants to capture. The sound designer must create a script breakdown that highlights the three primary types of sound effects: spot effects (ordinary sound resulting from action on screen), atmosphere effects (weather and animals), and sound design effects (original sounds that represent actions or objects not found in real life). Based on this breakdown, he or she sources existing audio tracks for use as sound effects, or sets about creating new content for the production’s specific needs. The sound designer will also artistically manipulate recorded sound using software plug-ins, synthesizers, and audio samplers. While it is the composer’s duty to create the underlying musical score, the sound designer also contributes certain sounds under the images to reflect a mood and theme throughout the story. This person is involved in every aspect of post-production sound, working closely with the Foley artist, ADR editor, re-recording engineers, and film editor. He or she will is tasked with monitoring the sound department pipeline and keeping the crew on schedule and on budget.

Skills & Education

A college degree in film and television production or recording arts is recommended in this career; the sound designer must be an expert in sound recording and editing with a firm understanding of acoustics and audio manipulation technology. This role requires an individual who is as artistically talented as he or she is technically proficient. The sound designer is capable of translating conceptual ideas into a realized product and discerning the subtleties of mood and theme as reflected in the show’s audio. This person is also a senior-level manager, and therefore must be highly organized and able to prioritize tasks for a crew under strict deadlines.

What to Expect

Sound designers typically rise to this rank after several years of experience in sound editing and/or as a re-recording mixer or production sound mixer. A formal education is helpful to learn the technology, production processes, and theories of technique, but sound design is a specialty that demands time spent in apprenticeship. Work in a junior capacity in the post-production sound department is required, and is the place you should seek to begin your career. Time on set is helpful, but if you are confident in your desire to work in post, then concentrate your efforts there. Full-time entry-level and assistant positions exist on the sound editing and recording staffs of major production studios (who are contracted to produce audio post for film and television) and at boutique post houses. Major studios also regularly offer internships or apprentice programs that will afford you the necessary hands-on experience to seek permanent employment, and will present the chance to establish professional relationships with industry veterans.

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

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.

Sound Design / Photo Credit: Indiewire

SHOWRUNNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Showrunner)

Showrunners / Photo Credit: Deadline

SHOWRUNNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Showrunner)

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

Showrunner in Motion Picture Production

Showrunner is the 21st-century term for the leading executive producer of a Hollywood television series in the United States. The concept has since been adopted as well in the Canadian and British TV industries. A showrunner typically has creative control of a TV series production, through combining the responsibilities of the head writer, executive producer, and script editor. In films, directors typically have creative control of a production, but in television, the showrunner outranks the director.

Showrunner is more a title and a set of responsibilities given to one of the executive producers, less a completely different job. This person may be credited as the executive producer, creator, or writer-producer; in any case, his or her duty is to maintain the integrity of the overall canon of the series and keep the writing staff on task and on message.

Duties

The work is centered in the writers’ room, where this person is the chief creative voice behind each script; he or she may not write every episode, but will have a significant impact on the development of the storyline and in selecting which scripts to greenlight. He or she will also establish and maintain the show’s “bible,” a compendium of information about every character and plot twist in the life of the series. During production, the showrunner holds rank over the director and crew and has the authority to step in and make changes when necessary. He or she makes numerous design and directorial choices throughout the development of an episode to ensure that the show stays consistent from week to week. The showrunner is also a facilitator who manages personnel and sees to it that cast and crew are working effectively, while keeping to the intended vision of the characters and story.

Skills & Education

A college degree in film and television production is highly recommended, but not a steadfast requirement. What is more important is considerable experience in the development and management of major motion pictures and television series. Courses in creative writing and scriptwriting will prove helpful to the showrunner who also finds he or she is acting as a writer-producer. This individual must be highly organized, detail-obsessed, and a master of multitasking. What’s more, this is a creative role that demands a unique personality; he or she hones the vision of the entire production and helps to guide others in a unified direction—by force if necessary. Active members of the Writers Guild of America with credits at or above writer-producer are eligible to participate in a showrunner training program that prepares television professionals to make the next leap in their careers.

What to Expect

There are two ways to become a showrunner: You can spend several years building up your clout as a well-known writer of episodic television, or you can get lucky and sell a spec script as a concept and pick up a fast “created by” credit—don’t count on the latter. It is not impossible or unheard-of for a rookie to go out to Hollywood and strike gold on the first shot, but it shouldn’t be your master plan. It will take time to cultivate a list of credits and produced scripts before you work your way up to the role of showrunner. It begins with landing your first gig as a staff writer. From there, you collect bumps in status based on your longevity (and perhaps some contract haggling by your agent). When you’ve arrived at the writer-producer level, you have a sufficient résumé to begin hunting for a showrunner gig, or to finally get your pet project made.

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

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.

Showrunners / Photo Credit: Deadline

SHADING/LIGHTING TECHNICAL DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Shading/Lighting Technical Director)

Lighting Globes Bad Boys 2 / Photo Credit: Bruce Bisbey

SHADING/LIGHTING TECHNICAL DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Shading/Lighting Technical Director)

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

Shading/Lighting Technical Director in Motion Picture Production

A shading/lighting technical director is a crucial versatile member of the CGI team who adds surface qualities to objects: adding depth to sets and characters with shadows, as well as light to provide illumination that helps accentuate the mood and emotion of a scene. Many shading/lighting technical directors also spend a great deal of time writing programs and code to be used during the rendering process.

Lighting TDs/Lighters make sure there is consistency in lighting, color balance and mood between the various elements of a shot or scene. When appropriate, they ensure the computer-generated imagery looks photorealistic to match the live action plates.

Lighting TDs/Lighters add the lighting that creates atmosphere, increasing realism, tone and depth in a scene and clarifying location, weather and time of day. They balance individual elements to enable the compositors to produce a convincing image. They refer to the production designs and apply that visual style as faithfully as possible, taking care to maintain continuity.

They match technical skill with aesthetic judgement to create images that not only look good but are easy to render (i.e. output; translating computer data into images).

On some projects, they may be involved in the research and development of different effects for the Art Director or Lighting Supervisor. In a large company or on a larger project, they are often part of a team, but they need to be able to work with a minimum of supervision, understand the tools available and know how to use them to create the desired effects. On smaller productions, the role of Lighting TD/Lighter may be combined with that of Modeler or Texture Artist.

Lighting TDs/Lighters need to work closely with the rendering and compositing departments to understand what is required at the next stage and ensure their material is easy to use and delivered on time.

On smaller projects, lighting is a fundamental skill required by generalists who cover more than one role. On larger productions, there is likely to be a team of dedicated Lighting TDs/Lighters.

In many companies in the UK, particularly facility houses, Lighters are called Lighting TDs (Technical Directors) and can work their way up through the lighting department, starting from Junior TD. In feature animation, they are known as Lighters or Lighting Artists.

Duties

The main duty of the shading/lighting technical director is to make sure that effects look as good as possible with the available resources and to guide all areas of production shading and lighting. Shading/lighting directors develop and implement the appearance of texture and color of objects, creating shadier code in rendering software for CG in a variety of ways, including 3-D paint and regular texture painting. It is the duty of shading/lighting technical directors to write tools to facilitate lighting and shading rendering techniques so that shots can maintain the highest standard and continuity as required in the pipeline. Shading/lighting directors work from references that may be from paintings, drawings, photographs and film, as well as actual reference objects and locations, though they can also create with only verbal or written descriptions. These technical directors will work with a variety of different departments, including modeling, art, digital paint, and lighting, so knowledge of the requirements and processes of each department, as well as clear communication through the pipeline, should be priorities of every shading/lighting technical director.

Skills & Education

The highly technical and artistic nature of this position makes it one that requires extensive education and experience. While knowledge of basic artistic concepts like shading and composition are a good foundation, an education in computer science, mathematics, or engineering are just some of the degree programs that many shading/lighting technical directors pursue. The leadership aspect of the job also requires that candidates possess at least minimum a few years of experience in visual effects or equivalent work before becoming shading/lighting directors. Coding, procedural shading, and software knowledge is an absolute must, and shading/lighting technical directors commonly write surface, light, displacement, and volume shades for rendering software such as Renderman, Mantra, and Mental Ray. Many companies require knowledge of C/C++, Python, and PyQt, as well as familiarity with professional graphics packages such as Maya, Nuke, HDK, Liquid, and Shake, among others; it is also advisable to keep up on the changes in technology, as it evolves at a rapid pace. In the end, while artistry will go a long way for a shading/lighting technical director, technical proficiency and knowledge of the rendering process are crucial to the job.

To do this role, you will need to:

• Ensuring there is consistency in lighting, color balance and mood between the various elements of a shot or scene…
• Making sure the computer-generated imagery looks photorealistic to match the live action…
• Adding the lighting that creates atmosphere, and adds realism, tone and depth to a scene…
• Have a strong sense of light and shadow demonstrated by artwork, photography, theatre, film or CG work…
• Have knowledge of color theory, including through art history knowledge…
• Be able to follow design reference and have sympathy with wide range of styles…
• Be able to light characters and environments, interior and exterior, different times of day, etc…
• Have an understanding of composition and the ability to enhance mood by lighting…
• Have a good working knowledge of computer animation packages, particularly Maya…
• Have a good working knowledge of 2D paint software and various industry-standard rendering programmers, such as Renderman and Mental Ray…
• Have good working knowledge of palettes and cluts (Color Look up Tables)…
• Be able to do UV mapping…
• Have a good understanding of math’s and physics…
• Understand the principles of cinematography including depth of field, density, use of filters…
• Have good problem-solving skills…
• Be able to work with a minimum of supervision…
• Be able to function as team leader, if required…
• Have good communication skills…
• Have good team-working skills…
• Be able to take direction and be willing to address constructive feedback…
• Be able to deliver on schedule, working calmly and efficiently under pressure…
• Show respect for the procedures and requirements of a particular studio, production or pipeline…
• Have knowledge of the requirements of the relevant health and safety legislation and procedures…

What to Expect

Shading/lighting technical directors can expect to work in a variety of different stages during a production, but will spend most of the job in rendering. Computer scientists are more suited to the job than the solely artistic type, so if you want a more artistic job in visual effects may want to consider another career; however, a career as a shading/lighting technical director still gives you a great amount of artistic and creative freedom, provided you know how to write the shadier programs and work in almost every operating system there is. Depending on the project, a shading/lighting technical director may need to write just a few lines of shader code or a dozen pages’ worth, so a comfortable computer chair is recommended, though not always provided. However, after a few years and a few successes as a shading/lighting technical director, you can be sitting pretty in almost any chair you like.

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

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.

Lighting Globes Bad Boys 2 / Photo Credit: Bruce Bisbey