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, November 18, 2018

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

Video Supervisor Work Station / Photo Credit: RFWilmut - Wikipedia Commons

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

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

What does a Video Supervisor do?

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

Duties

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

Skills & Education

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

What to Expect

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

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

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

Video Supervisor Work Station / Photo Credit: RFWilmut - Wikipedia Commons

Friday, November 16, 2018

WHAT DOES A VIDEO LOGGER DO? (In the Entertainment industry.)

Comparo Screenshot / Photo Credit: Race-Keeper

WHAT DOES A VIDEO LOGGER DO? (In the Entertainment industry.)

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

What does a Video Logger do?

In a small, dark closet of a production facility there sits a young man or woman who is well into hour 325 of Jersey Shore. This person is not the president of The Situation’s fan club, but a video logger whose job it is to watch and annotate the months’ worth of fist-pumping and binge-drinking recorded in order to produce a 13-episode season.

Duties

The staff of video loggers may be split into a day shift and night shift, working around the clock to log the hundreds of hours of footage gathered by field production crews on reality television programs, documentaries, news stories, and other unscripted shoots. Logging includes watching the entire recorded content and making meticulous notes in a logging software program that contains information on date, time, subject, conversation topics, cast or persons in the shot, location, and other metadata that aids the editor or other post-production crew in quickly locating a particular shot in a haystack of video. Logging is also necessary for archiving and compliance with FCC regulations governing television broadcast stations and subscription services.

Depending on the specific responsibilities associated with the position, the video logger could be tasked with transcribing footage with the aid of video transcription software, or with conducting inventory of all gathered video. In some cases, the video logger may act as an in-house librarian or archivist of the cache of tapes and DVDs. In all circumstances, this person is responsible to the editor and post-production supervisor for the accurate and timely logging of video footage, and the proper storage and labeling of the video.

Logging in post-production

If a video has a high shooting ratio, it can be impractical to remember exactly where each shot is on each source tape or source file. Finding a particular source shot by searching through hours of video during editing can be time consuming, as well as tie up expensive editing equipment and editors' time. A solution widely employed in the professional industry is to log the content prior to editing. Loggers go through the source video material, labeling it according to its contents with metadata. This data is then available during editing, making the editing more efficient. Software based logging systems allow clip lists to be imported directly into computer based editing systems.

Skills & Education

A college degree in film and television production is encouraged, though not a requirement. The video logger should be knowledgeable about multiple video formats, including DVD, HD-DVD, and MP4, and at least familiar with older formats such as Betamax, VHS, U-matic and half-inch. Some experience with linear and nonlinear editing is valuable. Most employers will train new employees on necessary software, but experience with programs such as Avid Interplay Assist or InqScribe is helpful. You must learn the production company’s system for labeling, their file management system, and the meta keywords that are most frequently used. A typing speed of at least 50 words per minute is expected. A video logger must have a healthy attention span, be detail-oriented, and have a knack for identifying key plot points and story lines.

What to Expect

This is an entry-level position that may be offered as an internship, temporary employment, or permanent position, depending on the needs of the production company or television station. It is the standard first step toward a career in film and television post-production and work as an assistant editor. Freelance work as a video logger for a small, independent production may require you to provide your own laptop computer and software, in which case you should be paid an equipment rental fee in addition to your salary for the duration of the project. Employment opportunities are available with production companies that specialize in reality television, documentaries, and local or national broadcast and new stations.

Comparo Screenshot / Photo Credit: Race-Keeper

Thursday, November 15, 2018

WHAT DOES A VIDEO CAMERA OPERATOR DO? (In the Entertainment industry.)

Cinematography / Photo Credit: Premium Beat

WHAT DOES A VIDEO CAMERA OPERATOR DO? (In the Entertainment industry.)

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

What does a Video Camera Operator do?

If you’ve got a passion for being behind the camera, but a love of live entertainment, you don’t have to give up one for the other. There are numerous opportunities for video camera operators to work in concert touring, traditional theater, theme parks, and sporting events.

Duties

As part of the video crew, the video camera operator is responsible for the operation of digital video cameras during a live performance, in addition to the maintenance and repair of related equipment. He or she may be one of several operators who work under the supervision of the video supervisor, stage manager, and technical director. During rehearsals, these technicians work closely with the projection designer to learn their show track and perfect blocking (if on stage), framing, and camera angles. When video is cued through a media server integrated with a show control system, the video camera operator will take direction from the stage manager over headset radio. If live video is fed to projection screens on the fly, he or she will take cues from the individual operating the video switcher. Another video technician to wrangle cables and ensure that the operator has a clear path will aid onstage operators. It is the video camera operator’s responsibility to keep cameras in proper working order, regularly clean equipment, and ensure that batteries are charged before show time. In preshow, the technician must also prep his or her camera, perform white balance, and check for signal continuity.

Skills & Education

In this position, you must be technically skilled in the operation of digital video cameras and have the artistic talent to frame attractive shots. Courses in photography are helpful in training your eye and learning the theoretical techniques common to both video and still photography. Classes in electrical engineering are useful, but at minimum, operators should have specific training in the use of video equipment. A college degree in video production or film is recommended, though not required. Hands-on experience is most valuable, and several high-quality digital camera models are available on the consumer market; you should invest in your own equipment and take advantage of the opportunity to experiment while you learn the finer points of video production. Experience in non-linear editing via software like Final Cut and Avid products is valuable, as is previous use of media servers and video switchers.

What to Expect

Among live production crews, the video camera operators are regularly heckled for being white-gloves, but it’s just jealousy that prompts scoffs from the riggers and lighting techs. It is true that video technicians generally have the least amount of equipment to set up, and tend to avoid most of the dirty work endured by the rest of the crew. However, video camera operators make up for taking an early lunch break during load-ins by being glued to their cameras during the performance, while others wait backstage or enjoy the show from the wings. Your shoulders will burn and your arms will go numb as you’re frozen in place waiting for your shot to cut to the next camera. (Spotlight operators feel your pain.) Practice will help train your muscles, and a steady diet of potassium will keep the shakes at bay while operating a handheld. Shaky-cam may be OK for the Bourne movies, but it isn’t appreciated at concerts and traditional theater.

Cinematography / Photo Credit: Premium Beat

Wednesday, November 14, 2018

WHAT DOES A UNIT VIDEOGRAPHER DO? (In the Entertainment industry.)

Unit Videographer / Photo Credit: Valley Creek Productions

WHAT DOES A UNIT VIDEOGRAPHER DO? (In the Entertainment industry.)

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

What does a Unit Videographer do?

The unit videographer (also known as EPK cameraperson, or video camera operator) is hired to record behind-the-scenes and “making of” footage for films and television shows for use in electronic press kits and/or DVD extras. While the first unit production crew is filming the movie or show, the unit videographer and a small team are following their every move, and capturing interviews.

Duties

Throughout the course of EPK production, the unit videographer is responsible for maintaining his or her camera and lighting equipment, and will participate in meetings to review dailies with the EPK producer and sound mixer.

EPK crews are small and travel light, typically consisting of a producer, sound mixer, and unit videographer. When hired for an assignment, the production’s unit publicist will provide the EPK crew with a shooting script and daily call sheets, which detail the scenes to be filmed that day and the cast and crew expected on set. Based on that information, the EPK crew will arrange sit-down interviews and identify which key segments should be recorded. While on set, the unit videographer will communicate with the first unit assistant directors to select areas to record takes of scenes where his or her presence will not interfere with filming or distract the cast. The videographer looks to capture the scene as it happens, recording both the actors on set and the crew behind the camera. This person also records candid footage that includes preparation of takes and activities like the cast in the hair and makeup trailer.

On set, the videographer does not have the benefit of setting his or her own lighting, but must rely on whatever lighting is available so as not to interfere with regular production. Lenses are changed on the fly, and there is usually only one chance to get the shot. Sit-down interviews afford the videographer more control over lighting conditions, and he or she will be responsible for setting up any necessary electric and grip equipment to accommodate those sessions. Throughout the course of EPK production, the unit videographer is responsible for maintaining his or her camera and lighting equipment, and will participate in meetings to review dailies with the EPK producer and sound mixer.

Skills & Education

A college degree in film and television production or broadcast journalism is recommended for a career as a unit videographer. This person must be proficient in the use of multiple formats of digital video cameras, grip equipment, and lighting instruments. Understanding the techniques of photography, three-point lighting, and color theory is also necessary. The unit videographer may not be required to edit EPK footage, but it is helpful to be comfortable using non-linear editing tools like Final Cut and Avid.

What to Expect

The unit videographer may work as a freelance cameraperson who specializes in EPKs or may be employed full-time at a small studio that produces EPK content for major Hollywood projects. These technicians are usually highly experienced camera operators who have previously worked in film and television production, broadcast journalism, or sports television. To find a job in this segment of entertainment production, you must put together a demo reel (usually no more than 10 minutes of material) that exemplifies your skills as a videographer and displays your best work. Most unit videographers own their camera and lighting gear, and may receive a small rental fee in addition to their regular rate. Before you’ve accumulated a lengthy list of credits, you’ll have to hustle to find work. Cultivating professional relationships and networking is your best conduit to a gig. However, even tested veterans with a portfolio of recognizable work have to compete fiercely for each new project.

Unit Videographer / Photo Credit: Valley Creek Productions

Tuesday, November 13, 2018

WHAT DOES A UNIT STILLS PHOTOGRAPHER DO? (In the Entertainment industry.)

Unit Still Photography Camera / Photo Credit: Digital Fusion

WHAT DOES A UNIT STILLS PHOTOGRAPHER DO? (In the Entertainment industry.)

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

What does a Unit Stills Photographer do?

A unit still photographer, or simply still photographer, is a person who creates film stills, still photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry and network television productions.

The unit stills photographer works on a freelance basis and is hired by the producer, studio publicity department, PR firm, or film sales agent. This person is responsible for photographing scenes during production on a film or television show that will be used in publicity materials, the movie poster, or DVD packaging. Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance and background. The director and assistants review these images frequently for continuity and matching of all stage aspects.

Duties

The unit stills photographer has no direct supervisor on set, but is responsible to the unit publicist for delivering several hundred photos for each full day of shooting. The photographer works closely with the director and cinematographer to ensure that each take can be photographed without interference to filming and often depends on the cooperation of the grips, boom operators, camera assistant, and camera operator to allow him or her space to work. It is preferable to capture scene stills during the take, but when necessary (and with the approval of the director), the unit stills photographer can arrange for scenes to be posed with the cast. Most often photographers on set must shoot with whatever lighting (natural or artificial) is determined by the director of photography and gaffer; rarely will the photographer be afforded the luxury of setting his or her own lighting. The use of camera silencers, called blimps, is also necessary to prevent noise from the camera interfering with sound recording. After each day of shooting—or based on the agreed schedule—the unit stills photographer delivers contact sheets (pages with small thumbnails of each shot taken) to the publicist and employer for review. The employer owns the images, and the photographer does not have a say in which shots are used. He or she is not permitted to sell or redistribute photos, except for the purposes of compiling a portfolio.

Skills & Education

A college degree in fine art with a concentration in photography is highly recommended; the unit stills photographer must be a skilled artist with a trained eye for capturing a moment and framing an attractive shot. Education in the techniques of still photography and the use of camera accessories is required. Courses in film and television production are also helpful to understanding the production process. Most important is experience in a variety of shooting conditions and environments; for instance, practice in sports photography can help make you proficient at composing and capturing takes in motion.

What to Expect

In most cases the unit stills photographer has a great deal of autonomy on set, with total creative control over how and what he or she shoots. Cooperation with the show’s crew is especially important; you’ll need to ask nicely to get power from the generator operator to plug in your battery charger and stay on the grips’ good side to have access to apple boxes and ladders. Also crucial is cultivating a positive—but unobtrusive—relationship with the cast. Their “people” have approval over your photographs, and if the leading lady takes a dislike to you, you’ll find it impossible to be on set during rehearsals and blocking notes. Indeed, your job will become infinitely more difficult. Remember that the priority on set is getting the movie or television show locked. Your presence is necessary, but the production won’t stand still for you. You must be able to keep up and remain invisible while still accomplishing your mission.

Unit Still Photography Camera / Photo Credit: Digital Fusion

Monday, November 12, 2018

WHAT DOES A TITLES DESIGNER DO? (In the Entertainment industry.)

Title Design / Photo Credit: Academy Originals - Dan Perri - YouTube

WHAT DOES A TITLES DESIGNER DO? (In the Entertainment industry.)

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

What does a Titles Designer do?

The titles designer is the artist whose responsibility it is to create the opening titles sequence, as well as intertitles or title cards in the film or television show. He or she also creates the end credits. The opening titles sequence of a film or television show is meant to set the mood for the audience and establish a tone for the presentation to follow. Depending on the budget of the production, this sequence may be very elaborate or quite simple. Distinctive titles sequences can also establish a cohesive brand among several products of the same family, as with the very similar style.

Duties

Film title design is a term describing the craft and design of motion picture title sequences. Since the beginning of the film form, it has been an essential part of any motion picture. Originally a motionless piece of artwork called title art, it slowly evolved into an art form of its own.

In the beginning, main title design consisted of the movie studio's name and/or logo and the presentation of the main characters along with the actor’s names, generally using that same artwork presented on title cards. Most independent or major studio had their own title art logo used as the background for their screen credits and they used it almost exclusively on every movie that they produced.

The titles designer is the artist whose responsibility it is to create the opening titles sequence, as well as intertitles or title cards in the film or television show. He or she also creates the end credits. This artist is typically hired toward the conclusion of principal photography and begins work by meeting with the director and editor to discuss the show’s style, period, and themes. The director may bring to this creative meeting already-formulated ideas about the title sequence, or he or she may give the titles designer plenty of room to offer suggestions. This meeting is only a launch pad for further discussion and revision. One variable that should be nailed down immediately is whether the titles will require animation or shooting of additional live action footage. It may be the designer who is responsible for directing the additional footage.

The titles designer must submit several versions of possible sequence designs for the director’s approval before moving forward on a final composition. The process generally begins with paper-and-pencil sketching and evolves into the creation of original fonts, rough motion graphics, and animatics. Preliminary storyboards or animatics are presented to the director, and if given the green light are refined and built upon to arrive at a final finished product. Of course, this is all much easier said than done; the development process may take several weeks (or months) to complete. The titles designer’s finished work is transferred to digital files on DVD and sent to the editing department to be cut and composited into the film or video.

Skills & Education

A formal education in fine art, graphic design, film and television production, or computer animation is highly recommended. Coursework should be supplemented with courses in digital art, where the individual can become familiar with software applications like Photoshop, After Effects, Maya, and similar products. A titles designer should be as skilled in traditional drawing and painting as in 3-D art and digital techniques. Proficiency with match moving, compositing, and rotoscoping is especially beneficial.

What to Expect

There is no standard path to work as a titles designer, but there is a great deal of variety in the career field. Some designers may work as freelance artists who pitch their ideas to directors via a show reel (or whose agents do so); others may be employed full-time at a visual effects company that caters to the film and television industry. If operating as a freelancer, he or she should possess the necessary expertise to independently complete designs involving animation, graphic design, and the production of live footage. Employees who are part of a larger VFX staff may only be responsible for one facet of the creative design and art, while other specialists on the team will contribute to the project. As stated above, the titles sequence is only part of this artist’s mission—compiling the end credits and captions can be a tedious task that stations the titles designer at a computer for hours. The person in this role should be immensely patient and prefer the backlight of a monitor to the natural light of the outdoors.

Title Design / Photo Credit: Academy Originals - Dan Perri - YouTube

Sunday, November 11, 2018

WHAT DOES A THEATRICAL MILLINER DO? (In the Entertainment industry.)

Master Millinery / Photo Credit: University of the Arts London

WHAT DOES A THEATRICAL MILLINER DO? (In the Entertainment industry.)

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

What does a Theatrical Milliner do?

A theatrical milliner is a hat maker who is specifically trained in constructing headwear for the stage or film and television. This person works closely with the costume designer to create character-specific hats, bonnets, and other accessories that further enhance the authenticity of the show and complete the actor’s look.

Duties

Costume designers rely on theatrical milliners, rather than commercial hat makers, because there are a number of specific concerns the milliner must address when producing accessories for a performer. On stage, a wide brim creates hardships for the lighting designer who is trying to bring out the facial expression of the actor; for the sound designer, there are concerns of unwanted sound reflection that are associated with hats that hang over the performer’s face. There are also variables to account for when dressing dancers, as hats must be precisely weighted so as not to hinder the choreography. In fact, the theatrical milliner spends a great deal of time speaking with the performers and other designers to assess issues like accommodating wigs and microphones worn on the face or around the head. The artisan must ensure that the hat, meant to accentuate the actor’s performance, does not become an impediment.

In design meetings with the client, the theatrical milliner reviews the sketches provided, then discusses choices for fabric and other finishes for each hat. At that stage, this person conducts research to identify the techniques used in making traditional hats of that time period and will attempt to closely mimic the authentic fabrics. He or she will then provide the designer with a mock-up that is a close approximation of what the finished product will look like. The craftsperson holds fittings to gather necessary measurements (these may also be provided by the stage manager) and begins the process of constructing each hat from scratch. Milliners do not simply go out and buy a basic hat that can be embellished, these artists take great pains to create original, one-of-a-kind pieces that are individual to the production and exactly match the designer’s vision. When necessary, the designer may provide fabric or small accessories that have been used on the costume and should therefore be matched in the hat. According to the deadline agreed upon, the milliner will deliver the complete order of hats and may participate in first-look fittings with the actors and costume designer and then make any last adjustments to ensure a proper fit.

Skills & Education

As millinery is a specialty within costume design, a college degree in theatrical design is appropriate for this career. Either through college study or employment, the young artist should seek to apprentice under a veteran milliner in order to receive hands-on training in the techniques of the craft. Naturally, this occupation requires a skilled set of hands that are adept at sewing and making patterns. Like all garment construction, millinery demands an individual with a keen attention to detail that is capable of precisely following a designer’s instructions. An extensive knowledge of theatrical production is necessary, and additional courses in fine art and art history are beneficial. This person must be familiar with the proper handling of numerous types of fabric, and the traditional materials of multiple styles of hats.

What to Expect

Theatrical milliners are master craftspeople that have years of experience within their trade. They are also supervisors of the staff of assistants that serve within a third-party millinery studio or the department of a theater’s costume shop. Most often, these individuals begin as stitchers and patternmakers before finding a specialty in millinery. Therefore, it is helpful to gain professional knowledge in numerous areas of costume fabrication. Other relevant entry-level roles include the dyer, painter, costume craftsperson, and first hand. With appropriate experience in one or more of these positions, you may find an available position for an assistant to the milliner, thus allowing you the opportunity to apprentice under the master artist and gain the necessary tools to advance your career.

Master Millinery / Photo Credit: University of the Arts London

Saturday, November 10, 2018

WHAT DOES A TEXTURE ARTIST DO? (In the Entertainment industry.)

Texture Art / Photo Credit: Nadia Belerique-Canadian Art

WHAT DOES A TEXTURE ARTIST DO? (In the Entertainment industry.)

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

What does a Texture Artist do?

A texture artist is an individual who develops textures for digital media. The texture artist’s job is to paint surface textures on animated characters, environments, and props. The number of textures animators work with is endless and may include things such as wrinkles, fur, scales, sweat, and mud. In some cases, the textures used in animation cannot be found in real life. In these instances, the texture artist invents his own textures using his imagination and creativity skills.

Animation has come a long way since the days of plain white walls and two-dimensional cartoon characters. Today’s animation features deep, rich textures that make walls appear real, faces look lifelike, and even fantasy monsters seem like they could really be waiting under your bed. Much of this textural detail is thanks to the texture artist, also known as a texture painter, whose graphic art is used to define the surface qualities of a 3-D computer model. Most of the textures created by texture artists are used in video games, films, and television shows.

Duties

The texture artist’s main duty is to create photorealistic textures for mapping onto 3-D objects used in video games, films, television, music videos, or commercials—like wrapping a gift box in patterned paper. These textures will often be created from scratch, but may also be created from existing materials. Familiarity with the requisite software is required, as well as familiarity with the process of UV mapping. To create the appropriate finishes, a texture artist may scan photographs and then digitally apply the textures to objects and environments previously created by other members of the effects team, or they may create custom textures that go far beyond what appears in nature. As members of the visual effects team, texture artists must maintain a high level of photorealism in whatever surfaces they choose so as to enhance the 3-D environment and fit the requirements of the model pipeline and shading setup. Keeping textures diverse helps avoid repetitive and boring contributions to the video game, film, or television show on which they are working. Texture artists are just one element of the VFX team, and work closely with a variety of people, from modelers and shading/lighting technical directors to VFX supervisors.

Skills & Education

Though inspiration can come from anywhere, texture artists need to do more than stare at walls for their ideas. It is common for a texture artist to graduate with a BFA from an accredited art or design school, as well as have considerable texture experience evidenced in a portfolio. Familiarity with software such as Photoshop, Maya, Painter, Mudbox, ZBrush, CrazyBump, Body Paint, Deep Paint, and some proprietary software is crucial to a texture artist’s success. However, you also should possess strong artistic skills and grasp the concepts of detail, composition, color, form, and scale. Familiarity with other elements of the CG process can be beneficial to texture artists, including modeling, lighting, and shading. Working as part of a team is the norm, so good communication skills and the ability to work well under supervision will go a long way.

What to Expect

Texture artists work on projects that require a keen eye for detail and innovation so as to keep the 3-D environment from becoming stale or looking unrealistic. Compile a portfolio of your best work; studios need to know your level of experience and ability before handing over a paycheck to an unproven. Becoming a texture artist can eventually lead to supervisory texture positions (senior artist and lead), as well as other VFX jobs in the pipeline. Game studios and post-production houses are always looking for talented texture artists, and the companies you can work for range widely in size, scope, and nature of projects. While texture art requires experience, this is still often an entry-level position—it’s not the first rung on the ladder, but it probably won’t be your last, either.

Texture Art / Photo Credit: Nadia Belerique-Canadian Art

Friday, November 9, 2018

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

Television Director / Photo Credit: Paul Overacker - YouTube

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

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

What does a Television Director do?

A television director is in charge of the activities involved in making a television program or section of a program. They are generally responsible for decisions about the editorial content and creative style of a program, and ensuring the producer's vision is delivered.

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

Duties

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

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

Skills & Education

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

What to Expect

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

Television Director / Photo Credit: Paul Overacker - YouTube