Dumb Dog Productions LLC

SUN TZU QUOTE

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

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

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

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

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

Sunday, October 14, 2018

WHAT DOES A SEQUENCING PROGRAMMER DO? (In the Entertainment industry. What does a Sequencing Programmer Do?)

Sequencing Programmer Music Production / Photo Credit: Macworld UK

WHAT DOES A SEQUENCING PROGRAMMER DO? (In the Entertainment industry. What does a Sequencing Programmer Do?)

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

What does a Sequencing Programmer do?

SEQUENCING PROGRAMMER

A musical score for film, television, or a video game endures several stages between the composer’s pen and the live orchestra recording. One of the final checkpoints is with the sequencing programmer, who converts sheet music to a simplified digital track.

Programming is a form of music production and performance using electronic devices, such as sequencers, to generate sounds of musical instruments. Programming is used in most electronic music and hip hop music since the 1990s. It is also frequently used in "modern" pop and rock music from various regions of the world, and sometimes in jazz and contemporary classical music.

Duties

Working closely with the composer, the sequencing programmer uses notation software and music sequencing software like ACID Pro, Cinescore, or Logic Pro to create MIDI tracks of keyboards and synthesizers for use in scoring a film, television show, or video game. This process is also helpful in sequencing music for use by the composer and music editor to review before recording the score with a full orchestra. It is less time consuming and far less costly to iron out the kinks in a composition from a digital file than it is to make changes to the music with a full orchestra on the clock, racking up rental fees at the scoring stage.

Modern sequencing software is capable of recording and playing back an expressive performance by a live musician; this means that instead of simply playing back a series of notes at the same length and interval, the software can accurately recreate the exact tempo and intensity of an actual musician. Certain software also has the ability to replace the need for multiple synthesizers with virtual instruments available via plug-ins to the application—think Apple’s Garage Band program. Many workstation keyboards used by professionals include an onboard MIDI sequencer. MIDI, musical instrument digital interface, is an industry-standard protocol for enabling synthesizers, drum machines, and other electronic instruments to communicate and synchronize with computers and each other. The sequencing programmer either plays a live keyboard or uses virtual instruments to record the MIDI file, refine the digital recording, then submit it to the composer and music editor. He or she may work directly from the composer’s musical notation or from sheet music prepared by an arranger.

Skills & Education

A college degree in music composition or recording arts is recommended for this position. The sequencing programmer should be adept at reading and writing musical notation and be an accomplished musician on the piano. Proficiency in the use of sequencing and notational software is necessary, and this person should be comfortable using digital workstations and recording consoles. Courses in music appreciation, recording technology, and musicianship are encouraged. The programmer must understand the film scoring process and be flexible in working with composers in a collaborative environment.

What to Expect

Sequencing programmers may find employment opportunities as freelancers working on contract for specific projects or as a full-time employee at a post-production facility or recording studio. This is the same for film and television production, as well as game development. Some game studios do employ full-time sequencing programmers in the music department, but this career is separate from that of the audio programmer that ports the soundtrack to the game engine for final deployment. Experience as a copyist or arranger is valuable in reaching this career, which can lead to employment as a music editor or composer. Most sequencing programmers begin as a trainee or apprentice at a post-production facility or recording studio. You can expect to work at least 40 hours per week, with a good possibility for overtime and weekend hours depending on the production schedule.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Raindance, Screen Play Scripts, Script Doctor,

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.

Sequencing Programmer Music Production / Photo Credit: Macworld UK

Saturday, October 13, 2018

WHAT DOES A SECOND UNIT DIRECTOR DO? (In the Entertainment industry. What does a Second Unit Director Do?)

Second Unit / Photo Credit: The Sorcerer's Apprentice at Bowling Green - Noroton - Wikipedia

WHAT DOES A SECOND UNIT DIRECTOR DO? (In the Entertainment industry. What does a Second Unit Director Do?)

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

What does a Second Unit Director do?

The second unit of a film is a crew that is responsible for shooting supplementary footage; this includes establishing shots, stunts, inserts, and cutaways. This crew is separate from the first unit, which is the team that films scenes with the leading cast. When a series of shots are deemed too expensive, dangerous, or time-consuming for the first unit to accomplish, the second unit director leads his or her team to capture the necessary scenes.

The functions of the second unit vary, but typically the first unit films the key face-to-face drama between the principal actors. Two frequent ways a second unit is used are:

Action sequences. Action sequences are often filmed in discrete locations, using stunt performers, rather than the principal cast, and requiring significantly different filming arrangements than for ordinary scenes. Therefore, they are an obvious opportunity for second unit shooting.

"Pick-ups". After the main unit has finished on a set or location, there may be shots that require some or all of this setting as background but that don't require the principal actors. These shots might include things such as close-ups, inserts, cutaways, and establishing shots.

In both of these scenarios, the purpose of the second unit is to make the most efficient use of some of the resources that are expensive or scarce in film production: actors' and directors' shooting time, sound stage usage and the cost of sets that may have been built on stages, and the money that is tied up in a film as it is being made – the quicker it can be finished, the sooner production costs can start to be earned back.

The work of second units should not be confused with multi camera setups, where several cameras film the same scene simultaneously. Large productions may have multiple second units. Although filmmakers may refer to having "three or four units working", each unit would be called an "additional second unit"; usually none would be described as the third or fourth unit.

Duties

The second unit director is ultimately responsible for capturing all supplementary footage and maintaining a look that is consistent with scenes filmed by the first unit, ensuring continuity when the sequences are edited together in post-production. Quite often, frames shot by the first and second units are combined into the same sequence of the finished product. Qualities like lighting, shot framing, and other aesthetic attributes must appear seamless, even when the frames are shot weeks apart. The less that has to be fixed in post, the better. To support the second unit director, he or she will have a full complement of crew, though generally smaller.

In ideal situations, the second unit director and cinematographer will have the benefit of reviewing dailies from the first unit, examining filmed scenes that will lead in and out of the ancillary footage to be captured. This gives the crew a point of reference for ensuring that new sequences will match up with the existing scenes. However, that is not always the case. Quite often, the second unit and first unit are working simultaneously in separate locations to meet production deadlines. Therefore, communication between the second unit director and the first unit is vitally important.

In the case of shooting inserts and coverage shots, an editor may be on set to help guide the second unit director during filming. The editor knows the shots he or she needs to complete a sequence to the director’s liking, and his or her insight is valuable to the second unit.

Skills & Education

A college degree in film and television production provides a thorough education in cinematography, lighting, audio, and other technical aspects of the production process necessary for a career as a second unit director. This person does not need to be an expert in every field but should have a thorough understanding of each. Furthermore, a film degree will give you a valuable background in the art and theory of filmmaking. Courses in directing actors and performance are also beneficial in learning how to work with actors. A second unit director must be a competent leader who is able to juggle logistical concerns with ease and communicate effectively.

What to Expect

The role of a second unit director is often the last stepping stone toward the first gig as a full-fledge director. Those hired to lead the second unit will typically have spent several years as a first and second assistant director. Another path toward this career is as a stunt coordinator. In many cases, second unit crews will execute most, if not all, of the stunt and special effects sequences of a production. As such, the role of the second unit director and stunt coordinator can be combined.

Second unit director can be a stepping stone for aspiring directors to gain experience. Unlike an assistant director, who is second-in-command to the main director, a second unit director operates independently. It is common for certain personnel involved with a production in another capacity to also function as a second unit director, benefiting from their understanding of the material and relationship with the production's director or producers.

Second Unit / Photo Credit: The Sorcerer's Apprentice at Bowling Green - Noroton - Wikipedia

Friday, October 12, 2018

WHAT DOES A SECOND ASSISTANT DIRECTOR DO? (In the Entertainment industry. What does a Second Assistant Director Do?)

Second Assistant Director / Photo Credit: SlidePlayer

WHAT DOES A SECOND ASSISTANT DIRECTOR DO? (In the Entertainment industry. What does a Second Assistant Director Do?)

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

What does a Second Assistant Director do?

The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, and maintaining order on the set. They also have to take care of the health and safety of the crew. The role of an assistant to the director is often confused with assistant director but the responsibilities are entirely different. The assistant to the director manages all of the directors in development, pre-production, while on set, through post-production and is often involved in both personal management as well as creative aspects of the production process.

The second assistant director (second or 2AD) creates the daily call sheets from the production schedule, in cooperation with the production coordinator. The "second" also serves as the "backstage manager", liaising with actors, putting cast through make-up and wardrobe, which relieves the "first" of these duties. Supervision of the second second assistant director, third assistant director, assistant director trainees, and the setting of background (extras) are parts of the "second's" duties.

The second assistant director is hired during pre-production and is an aide to the first assistant director and, by extension, the director. He or she is hired by the producer or director, with input from the first AD, and will take on the tasks delegated by the same. This position may also be referred to as the key second assistant director or additional assistant director. All ADs after the first AD are given the title of second assistant.

Duties

Along with the individual tasks assigned by the director or first assistant director, the second AD is responsible for a few specific duties. Among these is preparing cast and crew call sheets, which detail all pertinent information for that day’s schedule; this includes arrival times, locations, scenes, and who must report to set. He or she will communicate advance scheduling information to the cast and crew as necessary. This person is also the main point of contact for all extras, handling requisitions and other required documentation concerning background actors. The information collected is reviewed for completeness and submitted to the first AD and unit production manager. Similarly, the second AD will write daily production reports and complete end-of-day paperwork concerning scenes shot, notes for the next day, film and sound information, etc. Scripts and later script changes are distributed by the second assistant director, or by a production assistant under the supervision of the second AD. As the primary point of contact for the cast of extras, the second assistant director will distribute, collect, and approve background talent’s vouchers and release forms.

Skills & Education

A college degree in film and television production is recommended for a career on the directorial staff. As a second assistant director, you should be proficient in the operation of film and digital video cameras, and understand the techniques of framing and lighting a shot. A firm understanding of sound recording and mixing is also necessary. While you are not expected to be an expert on all forms of film and television technology, an intermediate level of knowledge is beneficial. As you move up the ladder in the directorial department, you should also aim to become proficient in non-linear editing and learn about the application of visual effects in post-production. Courses in entertainment business are also especially helpful, as you will be dealing with cast and crew contracts.

What to Expect

Second assistant directors can become members of the Directors Guild of America, the organization that represents directors, assistant directors, and unit production managers. It is not required that you become a member to work in the film/TV industry, but membership is necessary to be hired on shows that operate under a collective bargaining agreement with the DGA as signatories. This includes most major production companies and studios. To work toward a career as second AD, you should gain experience in the camera department as a camera operator or camera assistant. A good place to start is as an on-set production assistant. There are also limited opportunities for internships or apprenticeships through the DGA and on feature productions that agree to host interns.

Second Assistant Director / Photo Credit: SlidePlayer

WHAT DOES A SCRIPT SUPERVISOR DO? (In the Entertainment industry. What does a Script Supervisor Do?)

How to line a script / Photo Credit: Amy Clarke Films

WHAT DOES A SCRIPT SUPERVISOR DO? (In the Entertainment industry. What does a Script Supervisor Do?)

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

What does a Script Supervisor do?

A script supervisor (also called continuity supervisor) is a member of a film crew and oversees the continuity of the motion picture including wardrobe, props, set dressing, hair, makeup and the actions of the actors during a scene. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scene. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit typically appears in the closing credits of a motion picture and is listed on IMDB under Misc. crew, even though they have a crucial role in the shooting of a film.

In the most basic description, the script supervisor is the editor's and writer's representative on set, as well as being the right hand aide to the director and the director of photography. It is the script supervisor's job to make sure that at the end of the day the film can be cut together. In that sense, they back up every department, monitor the script during shooting and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room.

In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one line synopsis of the scene. These reports are used by various departments in order to determine the most advantageous shot order and ensure that all departments, including production, wardrobe, set dressing, hair and makeup, are in sync in regard to the progression of time within the story.

Script Supervisors in film and television work as part of the camera department to make sure that the production has continuous verbal and visual integrity. They must ensure that when different takes and scenes are finally edited the production does not contain distracting continuity errors. Script Supervisors observe every shot closely and take precise and detailed notes to provide directors and editors with an authoritative reference. Script Supervisors work long hours and are involved during pre-production and principal photography. They may be required to spend long periods away from home.

During pre-production the Script Supervisor will check the script for any inconsistencies, prepare estimated running times, and break down the script according to production requirements. They will develop story synopses and character breakdowns, checking the shooting schedule to ensure that all the required scenes are shot and adequately covered from all required angles, and working closely with directors to anticipate and solve any potential problems.

On each day of principal photography, Script Supervisors file reports and photographic records for the previous days shoot, and prepare all paperwork for post-production. They check continuity requirements for each scene to be shot. During filming they closely monitor the script to check that no dialogue is overlooked, and cue actors where necessary. They keep detailed continuity notes and photographs or sketches of each actor and camera position for each shot. The detailed records they need to keep include all shot timings and camera movements, whether the scene is shot during the day or at night, any scene changes and their implications, all camera details including lenses and focal distances, and any inconsistencies.

They liaise closely about continuity with other departments including costume, makeup and hair, props and lighting. Where pick up shots are required, Script Supervisors provide actors with dialogue start points, and exact continuity details. They also ensure that other departments are aware of the status of each shot, and that clapper boards are marked up accordingly. Where more than one camera is used, they ensure that each camera's output is accurately identified. They confirm directors' take preferences and note these for post-production. They often assist sound mixers in taking additional notes of any recorded wild tracks or voice–overs. Script Supervisors retype scripts to reflect any major dialogue changes, and markup scripts with slate numbers, cut points, and other relevant details for post-production. They prepare detailed daily continuity reports, editors' daily log sheets and daily production reports. They also provide production with records of the requirements for any outstanding shots or inserts.

Script Supervisors may begin their careers as assistant production coordinators, or as production assistants in television. They may then progress to Script Supervision on 2nd camera shoots, and 2nd unit work, eventually becoming recognized Script Supervisors. Script Supervisors may also move in to other areas of production, including producing, writing, directing, editing, script editing.

RESPONSIBILITIES

During production, the script supervisor acts as a central point for all production information on a film shoot, and has several responsibilities:

CONTINUITY – The supervisor is responsible for working with all departments (camera, lighting, sound, wardrobe, make-up, properties and sets) to make sure that continuity errors do not happen. The script supervisor takes notes on all the details required to recreate the continuity of a particular scene, location, or action. For every take, the script supervisor will note the duration of the take (usually with a stopwatch) and meticulously log information into a daily editor log about the action of the take, including position of the main actor(s), screen direction of their movement, important actions performed during the shot, type of lens used, and additional information which may vary from case to case. When multiple cameras are in use, the script supervisor keeps separate notes on each. These logs also notate a director's comments on any particular take as to whether it is no good, a hold take (ok, but not perfect), or a print take (a good take). All of these notes are crucial not just for continuity – they provide the editor information on what the director prefers, any problems with any of the takes and other notes to assist the editing process.

AXIS AND EYELINES – The script supervisor is also the go-to person for determining the axis of a scene. The supervisor keeps track of and helps the director and the camera-operator set the camera position and off-camera eyelines ensuring that the coverage of a scene cuts seamlessly and that the characters within a scene always appear, without any confusion on the part of the viewer, to be looking precisely at the intended character or object.

SLATING – The script supervisor interacts with the clapper loader (second camera assistant) and the production sound mixer to make sure that each take of exposed film has a consistent and meaningful slate, that the sound and picture slates match. The script supervisor also notes the sound roll of each sync take, and the state of all MOS takes. This ensures that there is proper identification on the film footage in the editing room so the editor can find and use the correct takes.

SCRIPT – The script supervisor is responsible for keeping the most current version of the shooting script. During shooting, the script supervisor notates any changes from the screenplay that are made by the actors, director or others during the actual filming process. If significant changes are made to the script that affect a future day's shooting, the script supervisor is responsible for providing those changes to the assistant director's team who then will distribute those changes to the rest of the crew. The script supervisor's script is also referred to as their lined script because during shooting, a script supervisor draws a vertical line down the page for each different camera setup. Each line designates the start and stop of that setup, a quick note of what the shot description was and whether or not the dialogue was on camera for that setup. This allows the editor to quickly reference which camera setups cover which portion of the dialogue or action.

PRODUCTION REPORTS – At the end of each shooting day, the script supervisor prepares daily reports for the production team. These reports vary in form depending on the studio or production company; however, they generally include a log of the actual times that shooting and breaks started and stopped, and a breakdown of the pages, scenes and minutes that were shot that day, as well as the same information for the previous day, the total script and the amounts remaining to be done. Also included are the number of scenes covered (completely shot), the number of retakes (when a scene has to be reshot), and the number of wild tracks. The script supervisor is the official timekeeper on any set.

EDITOR'S NOTES – In addition to the production reports, each shooting day the script supervisor also compiles the continuity logs for the day's shooting as well as the relevant lined script pages for the scenes shot that day. Those notes are sent off to the editorial staff to assist them in the editing process.

The script supervisor is the primary liaison between the director (who decides what scenes are to be shot) and the editor (who is usually not present during actual filming but needs to have exact records of the filming in order to do the job of cutting the film together.) The script supervisor is a technical rather than artistic position and is generally considered as part of the producer's or studio's staff. There is usually only one script supervisor on a given film production.

How to line a script / Photo Credit: Amy Clarke Films

Thursday, October 11, 2018

WHAT DOES A SCRIPT RESEARCHER DO? (In the Entertainment industry. What does a Script Researcher Do?)

Script Research / Photo Credit: Pulse College

WHAT DOES A SCRIPT RESEARCHER DO? (In the Entertainment industry. What does a Script Researcher Do?)

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

What does a Script Researcher do?

A Script Researcher

Researchers support story and script personnel, ensuring stories and scripts reflect accurate research and reflect real life from the beginning. There is not much difference in role between high-end and lower budget production.

Researchers originate or develop programme ideas, drawing on their knowledge and understanding of industry requirements, and present their findings to decision makers. They are also fact checkers and brief writers who write scripts for on-screen presenters. They work across all genres of television production.

Research is an essential part of the screenwriting process, especially when you are not writing about a world and/or characters you know well from personal experience. When you can’t write from first-hand experience you need to do research and become a mini authority on the subject you’re dealing with to make your story as authentic as you can.

However, while you need to become a mini expert on the subject you are exploring you also need to ensure you aren’t getting too drawn into too much research and spend months without writing a word. So, how do you make sure research doesn’t keep you from writing the actual script?

Refrain from cramming all the knowledge into your script just because you know it and don’t add scenes just for the sake of showing off your knowledge. Don’t overload it with scientific facts to the point that the story gets lost or it reads like a manual. The story and the emotions come first. Always. The tremendous amount of research you did should be like 90% of an iceberg which remain invisible, and the plot and characters are the tip of that iceberg.

Script Research / Photo Credit: Pulse College

Wednesday, October 10, 2018

WHAT DOES A SCRIPT READER DO? (In the Entertainment industry. What does a Script Reader Do?)

Script Readers / Photo Credit: ScreenCraft

WHAT DOES A SCRIPT READER DO? (In the Entertainment industry. What does a Script Reader Do?)

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

What does a Script Reader do?

Script Reader

A script reader (or “Reader”) is the person who reads scripts for agents, producers, managers, assistants, and…pretty much everyone.

Script readers range from interns to full-time paid readers. They read for contests, production companies, agencies, etc.… The job generally entails reading a script from fade in to fade out and then doing coverage. That coverage goes to higher-ups so they can pretend that they’ve read your script during a notes call, find a new writer, or buy it.

Full coverage includes writing a summary, synopsis, comments, and sometimes a breakdown. Not every reading job requires full coverage, but it does require an understanding of story elements. A reader has to be able to dissect your writing in terms of what is working and what isn’t in order to give a proper evaluation and opinion.

That evaluation is going to be different depending on who is reading it and who they are hired to read for. Take for instance a production company. A reader for that company is going to be looking for a very specific type of script that falls in line with what that company produces. But, if you look at fellowship, they won’t necessarily be reading for the most “sellable” script but for the best writing or writing potential.

Script readers assess whether screenplays are professionally crafted, and write a reader's report (or 'coverage' report). Script readers mainly work for public funded bodies, such as the regional screen agencies, but can also be commissioned by screenwriters themselves. The typical reader's report is 4-8 pages long, including a breakdown of the story and an assessment of its suitability. This typically contains a logline, premise, synopsis, tone and genre analysis, at least two pages of comments on strengths and weakness, and the summary and verdict.

An agent gets sent a script from a client, manager, friend of a friend, or sometimes even from an unknown writer who wrote a good query letter. Yes, it happens. Since most agents are too busy to read scripts, the agent hands the script to an assistant or Reader (or both) and asks for notes, thoughts, or something called “coverage.” The agent reads the Reader’s coverage and decides if the script is worth reading.

Coverage: A one or two page write-up of a script, including logline, synopsis of plot, comments, and a judgment, usually RECOMMEND, CONSIDER, or PASS.

Script Readers / Photo Credit: ScreenCraft

Tuesday, October 9, 2018

WHAT DOES A SCRIPT EDITOR DO? (In the Entertainment industry. What does a Script Editor Do?)

Script Editing / Photo Credit: Videomaker

WHAT DOES A SCRIPT EDITOR DO? (In the Entertainment industry. What does a Script Editor Do?)

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

What does a Script Editor do?

Script editor

Script editors have insight into the effect of different types of narrative. Script editors form objective, reasoned and valid opinions about the premise, synopsis, treatment or screenplay. They mediate between the screenwriter's creative desires and the marketplace. Script editors often have a keener insight into the structure of screenplays than screenwriters. They are heavily involved in development meetings, one-to-one editorial meetings and regular email feedback. Script editors negotiate contracts before starting, setting out fees and deadlines. Script editors either work freelance or in-house.

One aspect of a script editor's job is to take a film script that has already been written and reshape it to suit the director's vision. In television, a script editor may simply be a more experienced writer who is responsible for the overarching storyline and development of shows in a series.

In other words, a script editor refines the screenplay of a film to suit what the director feels are the most compelling aspects of it. In television, this person has a better perspective on the characters, aim of the show, etc., and can better refashion each episode's script to suit those aspects of the show.

The script editor is a member of the production team of scripted television programs, usually dramas and comedies. The script editor has many responsibilities including finding new script writers, developing storyline and series ideas with writers, and ensuring that scripts are suitable for production. The script editor will work closely with the writer at each draft of the script, giving the writer feedback on the quality of the work, suggesting improvements that can be made whilst also ensuring that practical issues like show continuity and correct running time are adhered to. Unlike the writers, script editors will usually be full-time members of the production team, working closely with the producer, if the script writer is not a producer.

So a script editor will often have to dance a long a line between keeping a sensitive writer “on-side”, managing the expectations of the producer (and financier, or TV network), and also ensuring deadlines are met and the train stays on the tracks.

Working one-on-one with a script editor is one of the best ways to improve and hone a project. Getting feedback in person from someone who’s in your corner, understands where the project has come from and is going to, can be hugely helpful to a writer.

Script Editing / Photo Credit: Videomaker

Monday, October 8, 2018

WHAT DOES A STORYLINER DO? (In the Entertainment industry. What does a Storyliner Do?)

A Storyliner / Photo Credit: Pertemuan Jodoh - Storyline

WHAT DOES A STORYLINER DO? (In the Entertainment industry. What does a Storyliner Do?)

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

What do Storyliners do?

A storyliner is like being a detective. Storylining is often a collaborative effort and all the better for it. You exchange ideas against each other and be mindful of each other's strands; weaving inciting incidents and obstacles together out of all the stories we were working on, so that (hopefully) we'd end up with a complete and watertight episode. One of the pitfalls of multi-strand storytelling is that events can feel like they are occurring in a bubble, which is often the result of writers/Storyliners working in a bubble themselves. Sitting in a room with other talented creatives, unafraid to say 'what if' or 'how about' meant we'd end up with strong, cohesive episodes. Of course, not every show goes for such a team-based system. Some prefer a more writer-led process, but even on them, interaction between editors and producers and the script team is key to ironing out concepts until you have the very best storyline you can get from it.

A storyliner needs to tell a writer what happens, and why. Storylining will help you to become more disciplined. The limits placed on the Storylines (word-counts, no suggested dialogue, and minimal details) help build the mental muscles you need to become a writer. You throw out all the dressing, all the decoration, all the fat and interrogate exactly what the story is and needs to be.

Overseen by the story editors, storyliners develop story strands for long-running TV series. They may be responsible for a number of different storylines or for a number of episodes. They take ideas from the story producer, producers and writers to create a document for writers to be commissioned and write from. You are what your producers need you to be. So if you are setting out on this career path, be prepared to adapt, to endure, and to develop a thick skin.

A Storyliner / Photo Credit: Pertemuan Jodoh - Storyline

Sunday, October 7, 2018

WHAT DOES A STORY PRODUCERS DO? (In the Entertainment industry. What does a Story Producers Do?)

Story Producers Field Equipment / Photo Credit: Transom

WHAT DOES A STORY PRODUCERS DO? (In the Entertainment industry. What does a Story Producers Do?)

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

What do Story Producers do?

A Story Producer is a term used in reality television for the person who is responsible for creating a story line via editing/producing the show's source footage. They may also be responsible for writing Host dialogue. They will track the story of the cast during the shoot, and help to convey that story during the editing process.

Running the story lining heart of the show. To organize and manage story conferences, write the storylines and create new regular characters. Run the Writers’ Room sessions – guiding and inspiring the writers present to create the most dynamic episodes in a collaborative forum. To run the quarterly Planning Meetings and to articulate the vision for the show and its stories to Producers, editors and writers.

Depending on where you work or the type of show, the duties of a story producer may include all or some of the following:

Field logging…
Interviewing talent on camera…
Field producing scenes…
Writing hot sheets…
Tracking story through field and/or post…
Beating out the episode, creating a story grid…
Finding and watching all of the raw footage…
Cutting string outs/paper cutting…
Managing editors and handling their requests for footage and interview bites…
Creating Franken bites…
Researching any science or statistics used in graphics or VO…
Writing VO…
Writing and conducting pick-up interviews…
Addressing notes (in-house and then from the network)…
Working with production coordinators to secure releases for subjects/ locations / artwork / photos / music / articles, etc.…
Making sure the episode includes all advertising and graphics requirements, conforms to s&p, and is to time…
Watching down outputs for QC…

A story producer will work with the Executive Producer, Series and Script Producer – the editorial vision for the show. Under the management of the Series Producer, to have overall responsibility for ensuring the editorial vision is maintained in the storylines alongside the other Story Producer and in conjunction with the Script Producer via the scripts. To inspire and lead the editorial team in conjunction with the Script producer. To write the serial storylines and create new regular characters for the show. In conjunction with the Series and Script Producer, to approve all guest stories. To act as the focal point for actors in terms of their characters and storylines.

Your average story producer for a non-union show is paid by the week and therefore can be (and usually is) worked to the bone for as many hours per week as they can stay awake. Ideally a story producer will be in the field during the shooting of his episode(s), conducting his own interviews, writing his own logs, etc. But often story producers are not included until the post production process, starting a week or two before their editors begin cutting the show. So, the trick is to keep "feeding the machine," that is, keep one step ahead of the editor with string outs and everything they need so that story is already thought through and they can concentrate just on editing. All the while, story producers must keep the full episode in mind, track story at all times, and make sure everything flows story wise. The episode basically only exists in the story producer's head until there is a rough cut.

On a non-union show, the story producer will use an Avid editing system to make basic edits to the raw footage, cutting it down and streamlining it as much as possible before it goes to the editor, adding interview bites where needed. On a union show, the story producer is not allowed to touch an Avid and must write his string outs using tape numbers and time codes, and they are later assembled by an AE (this is called papercutting). I personally cannot imagine a world without using my Avid for story, it just makes the whole process go so much faster, it's a much more immediate way to see if a scene is working, and it's just more fun.

Sometimes a story producer is lucky enough to have a story editor, which is basically an assistant to the story producer. They share in the duties, but they are not held accountable if something goes wrong, and they generally handle the less important scenes or requests. Ideally, the story editor and story producer are a team that work on several episodes together, but often due to budget constraints there are more story producers than story editors and they act as sort of a "story editor pool," where any editor or producer can make requests of them and those requests are prioritized by deadline.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub

Story Producers Field Equipment / Photo Credit: Transom