WHAT DOES A POST-PRODUCTION SUPERVISOR DO? (In the Entertainment industry. What Does A What does a Post-Production Supervisor Do?)

Post Production Supervisor / Photo Credit: Slide Player

WHAT DOES A POST-PRODUCTION SUPERVISOR DO? (In the Entertainment industry. What Does A What does a Post-Production Supervisor Do?)     

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

What Does A Post-Production Supervisor Do?

The role of the Post Production Supervisor varies according to the type of film and the budget. On big budget films using complex CGI (Computer Generated Images), work starts during pre-production. The Supervisor liaises with the CGI Company and makes sure the Producer is aware of all the creative and budgetary considerations. On smaller budget films they also advise on an overall picture of what can be realistically achieved. Most Post Production Supervisors also liaise with the Editor and Producer (and sometimes the Director), about the hiring of post-production staff (Sound Editors, Titles Designers, Mixers, etc.). The Supervisors work closely with the Production Accountant, supplying accurate information for the Cost Reports. These are prepared every three to four weeks and show how actual expenditure compares to the original budget.

Post Production Supervisors work with the Editor, Supervising Sound Editor, and Re-Recording Sound Mixer throughout post production. They usually continue to work on the production until all the elements needed for the completion of the film are delivered. This includes the music and effects version which allows the dialogue track to be replaced with different languages.

Because large amounts of money are involved, and most of a film's budget is spent during Production, the Post Production period can often be difficult and challenging. Some Post Production Supervisors may be involved on a number of films at one time, but usually work on three or four films a year. They are employed on a freelance basis, by the Producer, often also with approval from a Completion Bond Guarantee company. They usually work alone, but on larger productions may employ an Assistant.

Putting the finishing touches on a film or television show is a long and involved process that requires the dedicated efforts of numerous technical and artistic departments, much like principal photography. Just as the director provides leadership and oversight of filming, the post-production supervisor wrangles together the many pieces to complete the project.

Duties

The post-production supervisor answers to the producer and oversees all aspects of the post-production process. It is his or her responsibility to see that the film or television episode is completed on schedule and within budget, working collaboratively with the heads of each post-production department, as well as outside vendors.

In close communication with the director and editor, the post-production supervisor helps to realize the final vision of the production. Among his or her responsibilities are: monitoring the work of the sound facility and sound editors, to include ADR, scoring, and sound effects; overseeing reshoots and the completion of visual effects; picture editing and refinement such as color timing and video mastering; and finally, the printing and delivery to distributors. Other tasks given to the post-production supervisor may also include overseeing legal clearances, arranging preview screenings, and budgeting the film’s post process.

Skills & Education

While it is not a requirement that the post-production supervisor be a master of each field, such as video, sound, and visual effects, an understanding of each process is necessary. A college degree in film and television production is valuable to this career, coupled with specific technical training in a particular field of expertise. Much of the post-production supervisor’s responsibilities are logistical; therefore, he or she must be adept at determining priorities, setting an efficient schedule, and effectively overseeing multiple crews to ensure goals are met.

What to Expect

There are several paths toward a career as a post-production supervisor. The first is to climb the ranks through a single post-production department, such as video or sound. For example, an assistant editor who eventually becomes an editor and then a supervising editor. The second is to build a list of credits on increasingly larger productions, starting on a small scale commercial or music video and building your experience level toward feature film and television. Finally, experience as a post-production assistant can lead to work as post-production coordinator, and so on. In either case, it will be your quality of leadership, attention to detail, and ability to deliver on high expectations that will pave the way for a long career.

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

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

Post Production Supervisor / Photo Credit: Slide Player

WHAT DOES A POST-PRODUCTION COORDINATOR DO? (In the Entertainment industry. What Does A What does a Post-Production Coordinator Do?)

Post Production Process / Photo Credit: YouTube - Google - Wolfcrow

WHAT DOES A POST-PRODUCTION COORDINATOR DO? (In the Entertainment industry. What Does A What does a Post-Production Coordinator Do?)     

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

What Does A Post-Production Coordinator Do?

A post-production coordinator is one who works many facets of the post production process, including ensuring the smooth operation of the editorial department, coordinating the production and delivery of final delivery elements, scheduling and coordinating ADR sessions, managing the administration of the department including post production accounting and final delivery paperwork, organizing final post production related documents, and coordinating the final wrap and proper storage of final video and audio masters and offline editorial materials. The role of the Post Production Supervisor varies according to the type of film and the budget. On big budget films using complex CGI (Computer Generated Images), work starts during pre-production. A coordinator liaises with the CGI Company and makes sure the Producer is aware of all the creative and budgetary considerations. On smaller budget films they also advise on an overall picture of what can be realistically achieved. Most post-production coordinators also liaise with the Editor and Producer (and sometimes the Director), about the hiring of post-production staff (Sound Editors, Titles Designers, Mixers, etc.).

As in principal photography, post-production of a film or television show combines the efforts of numerous artistic and technical departments. While it is the director’s role to oversee the creative completion of the project, the post-production coordinator acts as a logistical watchdog, ensuring each facet is operating efficiently toward completion. A coordinator work closely with the Production Accountant, supplying accurate information for the Cost Reports. These are prepared every three to four weeks and show how actual expenditure compares to the original budget.

Duties

The post-production coordinator is responsible to the post-production supervisor and participates in logistical oversight of a film or television show’s completion through the post process, facilitating the smooth operation of all departments and vendors on the project. A primary concern for the post-production coordinator is scheduling; he or she is charged with booking sessions for ADR, Foley, sound mixing, and picture editing, among others. The coordinator is involved in the preparation of day player (talent hired for one-day recording sessions) contracts and crew deal memos, as well as travel arrangements, lodging, and the distribution of crew lists. When post-production is wrapped, this person must organize project delivery documents for the producer and oversee the proper storage of picture and audio masters.

Skills & Education

An education in film and television production is beneficial to this career, as it provides a solid grasp of the entire production process. Additional coursework in entertainment business is also useful in understanding contract preparation, project accounting, and the numerous administrative concerns of a film or television show. Most of all, this role demands an individual that is highly organized, diligent, and able to see the big picture while maintaining a solid grasp of the smaller details.

What to Expect

Though this position serves a managerial function, in the sphere of film and television producing careers, the post-production coordinator is considered a junior-level role. Previous employment as a post-production assistant or in an administrative capacity with a post-production studio is a valuable training ground where you can network and build your credentials. Experience in editing or sound mixing is not a requirement of this career. Post-production coordinators are eligible for membership in the Producers Guild of America.

On the job, you should be prepared for a hectic pace under strict deadlines; part of the coordinator’s function is to keep the numerous departments involved in the post process on schedule and working efficiently toward completion. To that end, you are expected to handle minor emergencies with grace and to quickly deliver creative solutions to complicated problems.

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

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

Post Production Process / Photo Credit: YouTube - Google - Wolfcrow

WHAT DOES A PLATE SUPERVISOR DO? (In the Entertainment industry. What Does A Plate Supervisor Do?)

 The Martian Richard Stammers VFX / Photo Credit: The Art of VFX

WHAT DOES A PLATE SUPERVISOR DO? (In the Entertainment industry. What Does A Plate Supervisor  Do?)     

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

What Does A Plate Supervisor Do?

A plate, in production terms, is footage shot to be used for visual effects in post-production. An example of a plate may be a sequence of actors fleeing from a mega-monster that will be integrated into the scene during post-production, or simply background footage of landscape that will have all foreground action added later by a match mover.

Duties

The plate supervisor is a member of the visual effects team, and is hired to oversee live action shooting as it relates to VFX post-production. As in the examples above, the plate supervisor understands how the shot must be laid out and how long the scene must run to accommodate the monster that the team of artists has been working on back at the studio. Therefore, he or she works closely with the director and director of photography on set as a consultant, helping them to visualize what the end product will look like. Additionally, the plate supervisor may be hired to exclusively work on the second unit, shooting plate footage separately from the first unit crew.

In pre-production, the plate supervisor participates in previz (pre-visualization) meetings with the producer, directorial team, and visual effects staff. There, shots will be planned to accommodate VFX elements that will be added in post. Rough 2-D or 3-D animations (called animatics) are played in order to demonstrate the basic VFX sequences that have been designed to complete the scenes in the script that are impossible to create during live photography. The plate supervisor takes copious notes regarding necessary live shots and precisely times each sequence based on the script and director’s vision. That information will be used on set to guide the director and ensure that when the footage arrives at the VFX studio, the effects and animation can be seamlessly integrated without any need for reshoots.

Skills & Education

A college degree in film and television production, computer animation, digital art, or a related field is required. Coursework should include studio art, including still photography. Proficiency with digital art tools such as LightWave, Maya, or 3ds Max is necessary, and training with Avid and Final Cut Pro is also useful. A plate supervisor should be a jack-of-all-trades, capable of match moving, rotoscoping, character rigging, and animating. Furthermore, this career demands an individual who can get in sync with the director’s creative vision. You must be organized, detail-oriented, and an excellent communicator.

What to Expect

Depending on the size and budget of the production, the plate supervisor may be only one of several visual effects supervisors. He or she is assigned to the set to allow the VFX supervisors at the studio the freedom to concentrate on art creation, without having to worry about photography on set. Lateral moves between working on set and working in the studio are easy to come by and generally happen based on the skills required for a particular project. Employment opportunities are most plentiful within visual effects studios that cater to film and television. Freelancing is a viable career choice, but is less stable. To reach this senior-level role, pursue roles in post-production art like match mover, rotoscope artist, or render wrangler.

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

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

 The Martian Richard Stammers VFX / Photo Credit: The Art of VFX

WHAT DOES A PICTURE CAR COORDINATOR DO? (In the Entertainment industry. What Does A Picture Car Coordinator Do?)

Great Movie Cars / Photo Credit: Car Magazine

WHAT DOES A PICTURE CAR COORDINATOR DO? (In the Entertainment industry. What Does A Picture Car Coordinator Do?) 

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

What Does A Picture Car Coordinator Do?

A picture car is any vehicle that will appear on film. They are the automotive equivalent of Hollywood actors. ... These production companies will plan their shoot and have a specific vehicle, or vehicles, in mind. The picture car coordinator locates, arranges for, and supplies camera and picture cars, which can be classic cars, vintage cars, period correct cars, special interest cars, stunt cars, or any other requested vehicle.

What would Knight Rider be without the wit and wisdom of KITT; how would Bo and Luke get out of all those predicaments on The Dukes of Hazzard without the good old General Lee? Those automotive stars aside, any time you see a car in a film or TV show, a specialized technician known as a picture car coordinator is on set as well. Picture car coordinators locate and modify vehicles to the needs of the production; this includes customizing cars so that they can safely perform stunts or produce certain shots essential to the director’s vision.

Duties

Picture car coordinators oversee the modification, movement, usage, and repair of vehicles that appear in a film or television show. They make sure that the rigid timetable of the production is not interrupted by mishaps like a classic hot rod that fails to start. These technicians maintain communication with the builders of the specialized vehicles, so that if any problems arise or parts need replacing,  mechanics are available to quickly fix the issue. They may oversee a team of mechanics, fabricators, and painters during production. Picture car coordinators are also consultants, responsible for providing input on the type of vehicles that would be appropriate for certain aspects of the film or its characters. They decide how many duplicate versions to make and what modifications need to be done to each car so that it performs its required role. They also plan and implement the budgets for moving, fueling, maintaining, and modifying the cars.

Skills & Education

Obviously, a picture car coordinator must know vehicles inside and out. Although academic qualifications are not a requirement, training and experience as a mechanic is invaluable. You must be creative and innovative with modifications to maximize the vehicle’s effect in the film. The picture car coordinator must also be a good manager, with an eye for detail and excellent negotiation skills in order to procure the desired vehicles. Accounting is also part of the role, since the job depends on creating and keeping within allotted budgets for specialized vehicles, as well as reporting on those budgets to producers. Good communication skills are necessary to communicate effectively with the special effects, camera, and transportation departments within the production.

What to Expect

Picture car coordinators work very long hours to meet the demands of the film’s timetable and ensure all vehicles are in working order. You may spend time in an office environment, planning and tweaking budgets, as well as overseeing the team fabricating or repairing the vehicles. You may be called upon to communicate with the film’s director, production designer, and producers; you will definitely interact with the transportation department. A knack for multi-tasking and planning is a must for the picture car coordinator; you must have the required vehicles on site and running from start to finish during all filming hours.

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

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

Great Movie Cars / Photo Credit: Car Magazine

WHAT DOES A PAINTER/SCENIC DO? (In the Entertainment industry. What Does A Painter/Scenic Do?)

Picture of Prep the Floor / Photo Credit: Instructables

WHAT DOES A PAINTER/SCENIC DO? (In the Entertainment industry. What Does A Painter/Scenic Do?) 

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

What Does A Painter/Scenic Do?

Scenic Artists paint backdrops, murals and many other elements on film sets. ... They may be asked to paint complex prop pieces. They are responsible for scheduling their own work, buying in the necessary supplies, and translating the production designer's vision into reality.

Scenery grounds a story in a particular time and place and is one of the visual elements that most absorbs an audience into the scene with the cast on screen. Carpenters are responsible for building those sets, but the sets are never complete until the crew of painters has taken their brushes to them.

Professional painters prepare and paint interior and exterior surfaces. They may work on residential or commercial properties. Job duties for professional painters include removing old paint, priming surfaces, choosing materials, selecting and mixing colors and cleaning up job sites.

Painters in the film industry carry out many of the same tasks as domestic painters, e.g., surface preparation, which involves using cleaning materials, stripping aids and fillers; and applying sealers, fungicidal washes, primers, undercoating and finishing materials with a brush or roller.

They also carry out more advanced tasks, such as applying specific finishes. This may involve painting cars with a metallic finish; using a spray gun to cover a huge background surface; applying fine specialist finishes such as replica marbling and graining effects to sets; applying paint to pipes to make them look old and rusty; and hanging large wall coverings.

Painters often have to produce complex stencil designs and apply transfer gold to ornate areas.

They usually supply their own tools, such as specialized brushes, and occasionally their own paints, e.g., crackle glazes and certain washes.

They help to erect and take apart the working platforms needed to access painting sites.

Painters are initially briefed by Chargehand Painters, who explain which finishes are needed, where they are to be applied and what color schemes are to be used.

They are responsible for making sure their work is completed to the standards and deadlines set by Chargehand Painters.

Painters must meet strict health and safety guidelines, carry out their tasks in a safe work environment, and clean up and dispose of any waste in their work area.

Duties

Within the paint department, the most entry-level position is that of the painter. This person works under the direction of the lead painter and paint foreman but has the least responsibility on the crew. He or she will be tasked with prep work and keeping the shop clean, as well as the primary task of painting set pieces, props, backdrops, cutouts, and permanent structures. Prep work can entail sanding, filling, and priming. Other duties delegated to the junior painter may include undercoating and spray-painting. Additionally, this person may be required to use such materials as varnish, plaster, and faux cement treatments. The painter will be delegated tasks by the paint foreman on behalf of the paint coordinator, and at all times must adhere to the design specifications established by the production designer and art director. This person is expected to follow policies and procedures for safety and hazardous material storage within the shop and shall use appropriate personal protective equipment as necessary.

Skills & Education

A college degree in film and television production is recommended but not required for this position. Majors in theatrical design and fine art are also applicable. Coursework should include training in common scenic painting techniques and use of standard materials, as well as proper handling of hazardous substances. Study of traditional drawing, painting, sculpting, still photography, and art history are valuable to this occupation. A successful junior-level painter will be eager and willing to learn from veteran crewmembers and capable of following direction with minimal supervision.

What to Expect

As an entry-level position, professional experience is not required, though standards will vary from one production to the next. Previous work as an intern or on student films is desirable and helpful to seeking employment, as it displays an understanding of the production process and proves that the individual is capable of meeting expectations. Most importantly, a prospective painter must have a portfolio that demonstrates artistic talent as well as an understanding of technique. Small-scale examples are useful, but the paint coordinator or foreman looking at your work is more interested in large-scale projects like sets or stage backdrops. Experience as a commercial or residential painter is applicable, as is previous employment in the theatrical arts. Painters may work as freelance artists or find full-time employment at a scenic studio that caters to the entertainment industry. To find available gigs, you can comb the trade magazines for projects in pre-production. With that information, contact the production office and ask to speak to the person in the paint department responsible for hiring. You won’t always get through, but persistence pays off. If all else fails, work as a production assistant can allow you to make contacts within the paint department toward a future gig.

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

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

 Picture of Prep the Floor / Photo Credit: Instructables

WHAT DOES A PAINT FOREMAN DO? (In the Entertainment industry. What Does A Paint Foreman Do?)

Scenic Set Painting / Photo Credit: Wikipedia - Semperoper

WHAT DOES A PAINT FOREMAN DO? (In the Entertainment industry. What Does A Paint Foreman Do?)

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

What Does A Paint Foreman Do?

The paint foreman may be hired by the paint coordinator and begins work during pre-production on a film or television program. This person is second in command of the paint department and must be capable of assuming the role of the crew head in the event that the paint coordinator is unavailable.

Duties

Under the direction of the paint coordinator, the paint foreman is responsible for supervising the crew of painters and scenic artists and will delegate assignments to the crew as instructed by the coordinator. He or she is a senior artist that will participate in painting set pieces, backdrops, cutouts, and permanent structures. Additionally, this person assists the coordinator in the efficient management of the paint shop, to include the care and maintenance of supplies and equipment. At all times, the paint foreman ensures that the crew is on task and performing according to the established production schedule. He or she must see to it that work adheres to the design the production designer and art director set forth and that the results are up to the highest standard of quality. Furthermore, the foreman is responsible for shop safety; this means providing proper personal protective equipment and making sure that the crew cooperates within safety policies. In the absence of the paint coordinator, this person assumes the role of the department head and would then be responsible for concerns such as budget dispersal, material purchases, and hiring or firing of crewmembers.

Skills & Education

A college degree in film or television production with an emphasis on scenic art and design is encouraged, though majors in theatrical design or fine art are also applicable. The paint foreman should be a talented artist with an education in traditional drawing, painting, sculpture, and still photography. Courses in art history are also valuable. As this position requires the individual to be exposed to numerous types of paint and chemical compounds, he or she should receive training in the safe handling of hazardous materials, as well as the proper storage procedures and use of personal protective equipment. Likewise, the foreman may be responsible for material disposal and should therefore be familiar with state and local regulations governing such practices. 

What to Expect

This senior-level position requires three to five years of relevant experience within the paint department on a film or television production, including work as a lead painter. Entry-level painter positions are available within this department for those who can provide a portfolio that displays artistic talent and competency of technique. Artists have the option of working as freelancer or as a permanent employee of a scenic shop that caters to the entertainment industry. A typical workweek is 40 hours spent in a studio or on location, with the possibility for variations in schedules due to the current production demands. Painters are eligible for membership in IATSE, the union that represents artists and technicians in the theatrical, film, and television industries.

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

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

Scenic Set Painting / Photo Credit: Wikipedia - Semperoper

WHAT DOES A PAINT COORDINATOR DO? (In the Entertainment industry. What Does A Paint Coordinator Do?)

Painting - Pencils - Pens - Watercolor / Photo Credit: Pixabay

WHAT DOES A PAINT COORDINATOR DO? (In the Entertainment industry. What Does A Paint Coordinator Do?)

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

What Does A Orchestra Contractor Do?

Painters in the film industry carry out many of the same tasks as domestic painters, e.g., surface preparation, which involves using cleaning materials, stripping aids and fillers; and applying sealers, fungicidal washes, primers, undercoating and finishing materials with a brush or roller.

They also carry out more advanced tasks, such as applying specific finishes. This may involve painting cars with a metallic finish; using a spray gun to cover a huge background surface; applying fine specialist finishes such as replica marbling and graining effects to sets; applying paint to pipes to make them look old and rusty; and hanging large wall coverings.

Painters often have to produce complex stencil designs and apply transfer gold to ornate areas.

They usually supply their own tools, such as specialized brushes, and occasionally their own paints, e.g., crackle glazes and certain washes.

They help to erect and take apart the working platforms needed to access painting sites.

Painters are initially briefed by Charge hand Painters, who explain which finishes are needed, where they are to be applied and what color schemes are to be used.

They are responsible for making sure their work is completed to the standards and deadlines set by Charge hand Painters.

Painters must meet strict health and safety guidelines, carry out their tasks in a safe work environment, and clean up and dispose of any waste in their work area.

The paint coordinator on a film or television show is hired by the production designer or art director and is responsible for the supervision and organization of the paint department, as well as the execution of all paint assignments, including painting sets, props, backdrops, signs, and permanent buildings or soundstages.

Duties

Early in the pre-production phase, the paint coordinator will meet with the production designer and art director to review design drawings for special props and scenery and to discuss the style and color pallets for all paint projects. He or she must also communicate with the construction coordinator and prop master to establish a delivery timeline, by which carpentry elements will be completed and delivered to the painters. Based on the schedule and scale of the props and scenery to be painted, the coordinator will determine the number of crewmembers to hire, including a paint foreman and lead painter, as well as scenic artists and scenic painters. This person is then responsible for contacting vendors to obtain quotes for purchasing materials and equipment and will formulate a department budget according to those estimates. After the line producer has approved the proposal, the coordinator can procure necessary paint, brushes, rent scaffolding, and other equipment. This person will be tasked with disseminating funds within the department as required and must retain all receipts for final accounting during post-production.

During the painting process, the paint coordinator shall supervise the crew and ensure that all artists adhere to the design specifications as outlined by the production designer and art director. Depending on the size of the project, the coordinator may take on the role of the lead painter and paint foreman or may only supervise the work of others. He or she will continually review work for quality and instruct artists in proper techniques. The paint coordinator shall be responsible for seeing that all assets are completed on time and will communicate with relevant departments for the transportation of scenery and props to the shooting location for principal photography.

Skills & Education

A college degree in film and television production with an emphasis on scenic design is encouraged. A major in fine art or theatrical design is also applicable and should include courses in traditional drawing, painting, photography, sculpture, and art history. Training in faux painting techniques and the use of common finishing materials are necessary. Since lighting and color react differently through a camera’s lens than through the human eye, the paint coordinator must understand the principles of lighting for film and television and how that affects color choices for scenery. Of course, artistic talent is the most crucial prerequisite. An understanding of the use of lens filters is also beneficial. This position demands an individual who is an effective leader and able to manage multiple projects simultaneously. This person must be capable of creative collaboration as well as an excellent communicator.

What to Expect

As a department head, the paint coordinator is a senior crewmember who has at least five years of experience in professional film and television production. Previous work in theatrical production is also applicable. The typical path toward this role begins as an entry-level painter within the paint department. This can lead toward employment as a scenic painter with more responsibility and subsequently to promotion as a lead painter and then, paint foreman. Artists may work on a freelance basis or can obtain permanent employment for a scenic design and construction studio that caters to the film and television industry. Large motion picture studios have in-house paint shops that employ a full-time staff. Paint coordinators, like other members of the paint department, are eligible for membership in IATSE, the union that represents artists and technicians within the entertainment industry. 

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

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

Painting - Pencils - Pens - Watercolor / Photo Credit: Pixabay

WHAT DOES A ORCHESTRA CONTRACTOR DO? (In the Entertainment industry. What Does A Orchestra Contractor Do?)

Orchestra Musicians Independent Contractors / Photo Credit: Finance for Musicians

WHAT DOES A ORCHESTRA CONTRACTOR DO? (In the Entertainment industry. What Does A Orchestra Contractor Do?)

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

What Does A Orchestra Contractor Do?

A music contractor is someone who is somewhat of a music matchmaker and a jack of all trades in the industry. He or she has the job of finding the appropriate musicians for Broadway shows, television episodes and commercials. By closely interviewing the hiring composer, conductor, producer or director, the music contractor will determine the perfect musical match. It is an art in its self.

Composers of film and stage music need musicians to perform their pieces, and this is when the orchestra contractor gets to shine. Orchestra contractors, often referred to as “fixers” in Europe and the U.K., are responsible for making sure that composers have the musicians they need when they need them. Often credited in films and albums instead of individual musicians, the orchestra contractor is an important conduit between the creative world of artists and the practical world of the entertainment business.

Duties

Because films, albums, and stage productions most often do not come with their own ready-made orchestras, it is the responsibility of the orchestra contractor to see that musicians are found, hired, and brought into the studio or scoring stage to perform. Much of their work relies on their extensive contacts and voluminous lists of every reputable musician playing common and not-so-common instruments. Selection of the most talented, congenial, and appropriately skilled musicians is the main duty of the orchestra contractor, who is often faced with very specific requests by composers and directors. A conductor may need hundreds of classical musicians from around the world for a film score, or simply a handful of ukulele players from Atlanta for a commercial jingle. In each case, the orchestra contractor will be able to locate the musician, facilitate the contracts, and ensure that the composer or production company adheres to union rules throughout the recording process.

Skills & Education

Orchestra contractors are often educated in music and business both; this can include an education at a university or conservatory, or experience as a performer. Many orchestra contractors are or were musicians themselves, which can be extremely useful when compiling contact lists of musicians they may know or have worked with in the past. They also need to be familiar with films and TV and able to meet the unique needs of this type of performance. Because intimate knowledge of the music industry is required, it is extremely beneficial to the orchestra contractor to be able to tell a good musician from a bad one, a high-maintenance performer from an easygoing one, and they must know and tend to all the contract obligations of the American Federation of Musicians.

What to Expect

It is imperative to get the music matched correctly the first time, and to avoid conflict in any form, as the union represents the musicians and they are difficult to fire if they don't fit in. The music contractor will also act as a liaison between the union and the musicians to ensure proper working conditions and proper pay.

Orchestra contractors are needed everywhere there is a need for orchestras, whether films, television, commercials, albums, or the stage. The best orchestra contractors usually take years building contacts and learning their trade. Networking is vital to success, and a musical background is certainly a plus. Understanding the nuances of professional music and the quirks of professional musicians can help the right person excel as an orchestra contractor, though usually only after years of effort and persistence.

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

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

Orchestra Musicians Independent Contractors / Photo Credit: Finance for Musicians

WHAT DOES A ON-SET DRESSER DO? (In the Entertainment industry. What Does A On-Set Dresser Do?)

Set Dresser / Photo Credit: 90 Seconds

WHAT DOES A ON-SET DRESSER DO? (In the Entertainment industry. What Does A On-Set Dresser Do?)

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

What Does A On-Set Dresser Do?

Set dressers arrange objects on a film set before shooting. They work under the direction of a leadman and the Set Decorator. Set dressers place furniture, hang pictures, and put out decorative items. They are also responsible for some light construction and assembly of small items, such as air-conditioning ducts. They also move items as necessary to make room for the filming equipment. During the shoot, the prop department works with an on-set dresser to ensure that the props and furnishing are in the proper location for the script and to maintain continuity, as scenes are often shot out of order.

In theater set dressers "dress" the set of a play. Set dressers specifically deal with items on stage that are not interacted with by actors. Often set dressers are in charge of finding and installing curtains, wallpaper, photos, bedspreads, rugs and other items onto the set. Set dressers are sometimes a part of the props department, construction department or their own department. Whether set dressing is its own department is often dependent on how much money a theater has. Set dressers also often have a lot of cross over work with the props department or construction department. The set dressing department works under the director, producer and scenic designer.

A set dresser in drama (theater, film etc.) prepares the set with props and furniture to give it correct appearance and make sure each item is in correct position for each performance.

Desk ornaments, family photos, and other knickknacks are not haphazardly strewn about a set; a crew of artists carefully designs the atmosphere of each space an actor occupies on screen before filming begins. The on-set dresser is charged with implementing that design during filming, and is supervised by the set decorator and lead dresser.

Duties

On film and television productions, the on-set dresser is responsible for the continuity of placement of props and set decoration—everything from tableware to tricorders. With that job comes the task of cleaning and maintaining these pieces, and of policing the set to ensure that props are not lost or damaged and don’t walk away in the pocket of a entrepreneurial production assistant looking to subsidize his salary on eBay. Watering plants and floral arrangements is also required; but only on set, not in the talent’s trailer. This person is also responsible for the department’s tools and hardware, as well as properly packing items for travel.

Continuity is a major concern for the on-set dresser. Working with the script supervisor, this person takes digital photos (or Polaroids) of each set to ensure that the decor stays the same from one scene to the next and resets props as needed after each shot. Detailed logs are kept listing every item used, its position, and any notes on distressing and movement that should occur through the progression of the shots. Depending on the production, the inventory of props and dressings may number in the hundreds or thousands. It takes a highly organized individual to keep track of it all and perfectly replicate a design plot to the smallest detail.

Skills & Education

No particular educational background is required, but studying art, film/TV production, or theater is helpful. Knowledge of interior design is a boon, whether you gain it through coursework or glean it from magazines and online; when the decorator tells you to set the table with the Franciscan Starburst, not the Fiestaware, you’d better know which is which. Attention to detail, the ability to think fast on your feet, and creative problem-solving are crucial. You should be handy with a drill and be able to exploit all 7,000 ways to defy gravity with gaff tape and fishing line. Experience in stagecraft, carpentry, and sewing are also valuable. You are expected to understand light, color, and how these elements affect different camera lenses, so courses in photography are encouraged. Most important is following directions and being reliable.

What to Expect

On production sets, shots rarely go exactly as planned. You could show up one morning prepared for an interior shot in the kitchen, then find out the director wants to move outside for the pool scene—that’s life. You’ve got to be flexible and organized enough to quickly pack up and make the switch. On location, weather and environment play a huge role in a dresser’s job. Photographing day for night, winter for autumn, and in artificially created (or real) rain provide unique challenges; the best advice is to be resourceful and prepared for anything. Work as a production assistant or in any area of the art department will position you in the right place with the right people to land a future gig as an on-set dresser. If you can prove you are diligent and trustworthy, you may find opportunities to progress to roles as a lead dresser, set buyer, or assistant set decorator.

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

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

Set Dresser / Photo Credit: 90 Seconds