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

Script Development Editor / Photo Credit: Eden Make Movies

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

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

What Does A Development Editor Do?

Developmental editing is a form of writing support that comes into play before or during the production of a publishable manuscript, especially in the area of non-fiction writing. As explained by Scott Norton in his book Developmental editing: a handbook for freelancers, authors, and publishers, developmental editing involves "significant structuring or restructuring of a manuscript's discourse". Developmental editors are a type of language professional.

There are two kinds of editing in this world: copy editing and developmental editing (the kind that most people don’t talk about). For the copy editor, the mechanics of punctuation, grammar, and spelling are what matter—and any writer worth their salt knows those are key to a final draft. For the developmental editor, however, it’s the mechanics of the book, manuscript or script as a whole that matter. And overlooking those can have far-reaching consequences.

So, when do you take on a developmental editor? It depends a bit on where your own strengths lie.

The work of developmental editors

A good developmental editor will be fluent in your genre whether you’re writing commercial/upmarket fiction, non-fiction, or short stories, and ideally, s/he will also know the market/s you’re aiming for. In fact, s/he should be able to tell you straight up if you’re writing for the wrong market.

A developmental editor may guide an author (or group of authors) in conceiving the topic, planning the overall structure, and developing an outline—and may coach authors in their writing, chapter by chapter. This is true developmental editing, but not the most common way of working. More commonly, a developmental editor is engaged only after someone (usually the publisher) decides that the authors' draft requires substantial revision and restructuring. In these cases, developmental editing is a radical form of substantive editing.

Which is not to say that you do not. But writers often struggle with keeping perspective on their own work; they’re too close to it to know what does or doesn’t work for another reader. Writers unconsciously fill in the narrative gaps with their own knowledge of the book. They can be enthralled with their subject, without considering general interest. This can apply to fiction and non-fiction writers.

Irrespective of when the developmental editor is brought into a writing project, authors retain control over the document and are responsible for providing the content. An editor who creates content is no longer an editor but a ghostwriter.

Unlike with punctuation, there is no objective authority on how a book should work. But professional developmental editors work at a distance, which makes them better suited to giving you an honest opinion than, say, your spouse, best friend, or even a fellow writer.

Talk to enough developmental editors and you’ll hear the same phrase repeated: It’s about showing the writer what works.

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, 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,

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.

Script Development Editor / Photo Credit: Eden Make Movies

WHAT DOES A DEVELOPMENT PRODUCER DO? (In the Entertainment industry. What What does a Development Producer Do?)

Producer Services / Photo Credit: China Daily

WHAT DOES A DEVELOPMENT PRODUCER DO? (In the Entertainment industry. What What does a Development Producer Do?)       

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

What Does A Development Producer Do?

It's the drama development producer's role to seek out new TV drama ideas and build relationships with both new and established writing talent. They will manage a varied slate, be aware of current trends and be up to speed with the commissioning landscape. They may communicate with the broadcaster directly or via their head of development.

As the Development Producer you will report to the Executive Producers in the Continuing Series Drama Department to develop and manage a strategy for bringing new creative talent into the department.  You will be responsible for developing and managing a strategy for bringing new creative talent in the form of Writers, Directors, Script Editors, Assistant Script Editors and Script Readers into the department as well as developing the overall strategy for the various Drama Shadow Schemes and training as required.

The nature of the role can involve long and unpredictable work patterns and pressure to meet tight schedules.  Therefore you will need to have a flexible approach to their working day.

This position requires an individual with a demonstrable track record in Continuing Drama Series and drama/literary knowledge. You must have experience of script editing and developing scripts through to production as well as experience of running workshops and communicating/presenting ideas and skills to new writers / talent.

A thorough knowledge of script sources, emerging talent and a general understanding of copyright law, Writers Guild agreements, contracts and the legal implications of the production process are crucial to being a successful Development Producer.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, 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,

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.

Producer Services / Photo Credit: China Daily

WHAT DOES A DEVELOPMENT EXECUTIVE DO? (In the Entertainment industry. What Does A What does a Development Executive Do?)

Film Proposal Template / Photo Credit: Film Daily

WHAT DOES A DEVELOPMENT EXECUTIVE DO? (In the Entertainment industry. What Does A What does a Development Executive Do?)       

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

What Does A Development Executive Do?

Development executive

Development executives acquire and develop stories and screenplays that will make successful films. This requires an understanding of tone and genre, structure and narrative, and emotional impact. They identify a project with potential, overseeing screenwriters, reading screenplays and preparing development notes (script notes). Development executives may also be responsible for raising finance, or assist with packaging films, and securing pre-sales or distribution agreements. In large companies, responsibilities may be divided amongst development producers (executive producers), heads of development, development executives and script developer.

Development Executives are responsible for finding and developing stories and screenplays that will make successful films. They might be for general release or festival screenings. They need to understand what makes a good film script and what will appeal to audiences. 

Their primary role is to find new talent. They have to cultivate creative relationships with many people in the industry from Screenwriters, Agents, Directors and financiers to Broadcasters, Sales Agents and Actors. Development Executives spend as much as fifty percent of their time attending Film Festivals and other industry events.

Screenplays can take years to complete, and in some cases another it might be ten years before they go into production. It’s up to the Development Executives to see the potential in a project, and oversee Screenwriters as they work up the screenplay into the best possible version. Development Executives should be able to read screenplays, analyze their strengths and weaknesses. They prepare clear Development Notes (Script Notes) to help Screenwriters address these.

Development Executives may employ Script Readers, and additional Script Editors. If employed by an Independent Producer or Production company they also have to make sure that the company always has good projects to package, finance and produce. If necessary, they should also be able to troubleshoot story difficulties and personality conflicts. In the worst cases they might have to stop projects if they are not working out. 

Development Executives may also be responsible for raising development finance. They may help with packaging films, and securing pre-sales and distribution agreements, to raise production finance. 

All Development Executives have to be on the lookout for new projects and writing talent. But their exact responsibilities depend on whether they are working for a small independent Producer, a larger production company, or a screen agency. In larger companies the work may be divided between Development Producers (or Executive Producers), Heads of Development, Development Executives and Script Developers.

A development executive must be able to search through a maze of scripts, project ideas, and stories, finding those precious few that may become the next Oscar-winning movie or Sundance Festival jewel.

Duties

Development executives handle the acquisition and development of stories, scripts, and screenplays into successful theatrical films. This process can take a minimum of three years; some screenplays spend as long as 10 years in development before going into production. The development executive must intimately understand the genre and tone, the fundamental construction and phraseology of film stories, along with the emotional effect various films have on an eclectic audience mix. As well, a great development exec can simultaneously read a script and estimate the budget required to produce the film. It is imperative that development executives be able to pinpoint a project with genuine possibilities and then manage the screenwriter(s) while they massage and cajole the screenplay into an optimum version. To facilitate this, the development executive must be able to read the story or script and understand its advantages and flaws vis-à-vis the production process, in order to create concise development or script notes for the screenwriters to use during rewrites. The development executive may employ script readers to help with the sorting process and script editors to work with the writer, helping them cultivate multiple projects. At times, development executives may be required to raise funding for projects from various sources including government, public, and private sectors.

Skills & Education

The key skills required of a film industry development executive are the abilities to discern a viable and profitable story, to create a team capable of turning the story into an excellent screenplay, and to secure financial backing to ensure the completion of the project to its fruition. This must all be handled with a depth of understanding, tact, and good will in order to please and placate a variety of individuals with enormous personalities and egos. Education advantageous to the development executive would be script and screenplay writing, some psychology courses on human behavior, and basic finance study.

What to Expect

The world of a development executive is one endlessly filled with script-reading, project development, and meetings to procure financial backing. A highly sought-after development executive is one who has a nose for a good story, can keep the entire process on an even keel, and can fill the project coffers with more than enough funding to sustain the entire production.

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, 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,

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

Film Proposal Template / Photo Credit: Film Daily

WHAT DOES A SCREENWRITER DO? (In the Entertainment industry. What Does A What does a Screenwriter Do?)

DGA, SAG-AFTRA, WGA West and East / Photo Credit: Writers Guild of American West

WHAT DOES A SCREENWRITER DO? (In the Entertainment industry. What Does A What does a Screenwriter Do?)       

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

What Does A Screenwriter Do?

A screenplay writer (also called screenwriter for short), scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media, such as films, television programs and video games, are based.

Every screenplay and teleplay begins with a thought or idea, and screenwriters use their ideas to write scripts, with the intention of selling them and having them produced. In some cases, the script is based on an existing property, such as a book or person's life story, which is adapted by the screenwriter. The majority of the time, a film project gets initiated by a screenwriter. The initiator of the project gets the exclusive writing assignment. They are referred to as "exclusive" assignments or "pitched" assignments. Screenwriters who often pitch new projects, whether original or an adaptation, often do not have to worry about competing for assignments and are often more successful. When word is put out about a project a film studio, Production Company, or producer wants done, they are referred to as "open" assignments. Open assignments are more competitive. If screenwriters are competing for an open assignment, more-established writers usually win the assignments. A screenwriter can also be approached and personally offered a writing assignment.

Screenwriting is a freelance profession. No education is required to become a professional screenwriter, just good storytelling abilities and imagination. Screenwriters are not hired employees but contracted freelancers. Most, if not all, screenwriters start their careers writing on speculation (spec) and so write without being hired or paid for it. If such a script is sold, it is called a spec script. What separates a professional screenwriter from an amateur screenwriter is that professional screenwriters are usually represented by a talent agency. Also, professional screenwriters do not often work for free, but amateur screenwriters will often work for free and are considered "writers in training." Spec scripts are usually penned by unknown professional screenwriters and amateur screenwriters.

Every film, whether blockbuster hit or shoestring indie, begins with a screenplay. It is said that there have only ever been seven plots (boy meets girl, etc.), and everything else is derivative—you’re always just rewriting Shakespeare. That being said, it remains the screenwriter’s challenge to create a story that becomes the blueprint for a fresh, entertaining escape into 120 minutes of fantasy, horror, romance, or adventure.

Duties

The screenwriter’s journey toward a movie deal starts with the pitch meeting. A concise, dynamic presentation illustrates to the producer that you are capable of crafting a compelling script with engaging characters. Based on a successful pitch, the producer will enter into a contract with the screenwriter to draft a script. For members and signatories of the Writers Guild of America there are specific rules that govern this contract. Writers who enter into an agreement for work with a WGA signatory are required to become members and remain in good standing with the WGA. The contract will detail upfront the screenwriter’s salary, length of time he or she has to complete the first draft, deadline for the read and notes to be completed, and subsequent rewrites.

At any point in the process the producer may decide to replace the commissioned screenwriter or kill the project; then it’s back to pounding the pavement for meetings. If the screenplay receives the green light to go into production, the writer will be held to the initial contract that outlined stipulations for any on-set passes (rewrites), consultation during editing, and publicity appearances at screenings.

Skills & Education

A degree is not required for work as a screenwriter, but a relevant education is invaluable. Majors in creative writing, English, or film production are helpful. Courses in literary theory will help you craft your own unique voice by studying criticism of other authors. Scriptwriting may be included in the creative writing track or be available as part of a university’s film degree. It is recommended that you take classes in entertainment business to learn how to properly manage your career as a freelancer. Screenwriters should certainly have storytelling talent, but just as important is a realistic understanding of the industry, a skin thick enough to take constructive criticism, and a gift for networking. Having the passion and charisma to charm the pants off any room of jaded executives doesn’t hurt, either.

Skills needed to work in film and TV scripts

• A keen understanding of film narrative, and knowledge of current audience tastes and future trends…
• A passion for cinema and film making…
• An understanding of their organization’s specific development needs…
• Ability to search out new talent and cultivate creative relationships…
• Excellent all-round communication skills…
• Ability to troubleshoot story problems with creativity, discretion and great flexibility…
• Keen insight into all aspects of screenplay tone, genre, style, structure, character, plot, action and dialogue…
• An understanding of the various development stages, including: log lines, premises, synopses, beat outlines, step-outlines, treatments and rough drafts…
• A keen understanding of how to use the dramatist's tools, including comic irony, suspense, mystery and dramatic tension, and of the different ways that screen works affect audience…
• Knowledge of the production company's requirements and the current market/trends for films…
• Shrewd interpersonal and negotiation skills, liaising effectively…
• Familiarity with screenplay format and layout, and with the required contents of a reader's report…
• An understanding of the art of the synopsis and the screenplay development process…
• Awareness of developments in the arts and culture, with particular regard to new works in film, fiction and poetry… 

What to Expect

Filmmaking is a collaborative process. Producers, directors, stars, and studio executives all make cuts and contributions to the script; it is a living, breathing body that is constantly evolving until the film is in the can. You cannot afford to be overly protective of your work, nor can you take it too hard when the screenplay you slaved over for months is suddenly hacked and slashed to fit a new vision—that’s show business.

An agent is a great asset to a screenwriter; the agent uses his or her own contacts and the reputation of the firm to shop your work around the studios. It is also recommended that you register any spec material with the WGA and/or the Library of Congress. Look for opportunities to attend events like the American Film Market, screenwriting workshops, and film festivals as a chance to network. Opinions on the screenwriting contests and open pitch festivals are mixed; do your research beforehand and understand that while some may have success going that route, it is not a guaranteed “in” to a movie deal.

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, 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,

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.

DGA, SAG-AFTRA, WGA West and East / Photo Credit: Writers Guild of American West

WHAT DOES A SCENIC CARPENTER DO? (In the Entertainment industry. What Does A What does a Scenic Carpenter?)

Carpenters Carving Tool Set / Photo Credit: Unsplash

WHAT DOES A SCENIC CARPENTER DO? (In the Entertainment industry. What Does A What does a Scenic Carpenter Do?)       

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

What Does A Scenic Carpenter Do?

Scenic Artists paint backdrops, murals and many other elements on film sets. Working to briefs set by production designers, they are usually highly trained artists, with an art school background, or they may have trained as scenic artists for theater productions. The role requires excellent artistic skills, combined with the ability to work independently, accurately and to deadlines.

Green screen sound stages and virtual scenery are becoming more prevalent in film and television production, but most productions—save for maybe some reality programs—still require the labor and skill of trained craftspeople to build the sets that complete the environment that the characters inhabit.

Duties

Operating within the construction department under the direction of the art department, scenic carpenters are a crew of highly skilled technicians that bring to life the creative designs of the production designer, art director, and set designer; this crew is directly managed by the construction foreman and lead carpenter. According to the models, sketches, and blueprints produced by the art department, the scenic carpenters build all interior and exterior sets and physical scenery for a film or television production. Scenery can include basic structures consisting mainly of a few flats and a door or highly involved construction projects like building an entire house, great hall of a castle, or several decks of a spaceship. Carpenters will work on assigned projects as outlined by the foreman and adhere to the department’s production schedule. Like everything in the entertainment industry, this crew works on a strict deadline to produce scenery in preparation for principal photography. If a set is late, the entire production is held up, potentially costing producers millions of dollars.

They must be able to interpret designers' small-scale ideas, and develop them into full-scale reproductions, perhaps even improving on the design during the process. They must be able to handle scenic painting materials safely. Under most circumstances, carpenters work within a scenic shop to construct set pieces that are then transported and assembled at the shooting location. When necessary, sets are built in the soundstage where principal photography will take place. For productions that demand on-location filming where is it not logistically feasible to transport sets, carpenters set up shop wherever space can be found and make due in the setting they are given. Again, the production industry can be unpredictable, so those who intend to make a career must be flexible and able to adapt.

Skills & Education

They should have a good knowledge of basic scenic painting techniques, layout and paint application skills, and color mixing. Scenic Artists' abilities should include the traditional fine arts skills of sketching, rendering, and painting. They must also be well versed in techniques such as marbling, ragging, and wood graining and texturing, and should have a good understanding of art history, period styles, motifs and architecture. This career requires expertise in standard construction methods, as well as the industry-specific techniques used in film and television. Proficiency in the use of electrical, pneumatic, and manual shop tools is necessary, as a carpenter risks serious injury to himself or others if not adequately trained. A particular college degree is not required for this career, though an education in film and television production is valuable in understanding the production process and learning industry techniques. Professional work as a residential or commercial carpenter is applicable in seeking employment in the entertainment industry. Additionally, a carpenter should have a solid grasp of geometry, algebra, and basic physics. This is a career where those seemingly impractical equations are relevant to everyday activities.

What to Expect

Entry-level work as a scenic carpenter is available on various productions, depending on the needs of the department and size of the production. Typically, independent projects are more likely to hire less experienced technicians who are willing to work for less than scale. A tough truth about the industry is that many have to work for free or low pay to gain experience before carving out a good living working on major features. This is typically a freelance career, though full-time and part-time work is available with scenic shops that cater to the film, television, and theater industries. Other related career opportunities in the construction department for entry-level technicians include work as a carpenter’s assistant or trainee. Carpenters are eligible for membership in IATSE, the union that represents artists and technicians in the film, television, and theatrical production.

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, 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,

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.

Carpenters Carving Tool Set / Photo Credit: Unsplash

WHAT DOES A ROTOSCOPE ARTIST? (In the Entertainment industry. What Does A What does a Rotoscope Artist?)

The Art of Roto / Photo Credit: FX Guide

WHAT DOES A ROTOSCOPE ARTIST? (In the Entertainment industry. What Does A What does a Rotoscope Artist?)     

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

What Does A Rotoscope Artist Do?

Rotoscoping is an animation technique that animators use to trace over motion picture footage, frame by frame, to produce realistic action. Originally, animators projected photographed live-action movie images onto a glass panel and traced over the image. This projection equipment is referred to as a rotoscope, developed by Polish-American animator Max Fleischer. This device was eventually replaced by computers, but the process is still called rotoscoping.

In the visual effects industry, rotoscoping is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background.

Rotoscoping has often been used as a tool for visual effects in live-action movies. By tracing an object, the moviemaker creates a silhouette (called a matte) that can be used to extract that object from a scene for use on a different background. While blue- and green-screen techniques have made the process of layering subjects in scenes easier, rotoscoping still plays a large role in the production of visual effects imagery. Rotoscoping in the digital domain is often aided by motion-tracking and onion-skinning software. Rotoscoping is often used in the preparation of garbage mattes for other matte-pulling processes.

Rotoscoping has also been used to create a special visual effect (such as a glow, for example) that is guided by the matte or rotoscope line. A classic use of traditional rotoscoping was in the original three Star Wars movies, where the production used it to create the glowing lightsaber effect with a matte based on sticks held by the actors. To achieve this, effects technicians traced a line over each frame with the prop, then enlarged each line and added the glow.

The animation technique of rotoscoping is nearly a hundred years old, but the advancements in technology and technique have made being a rotoscope artist today far different than in your great-great-grandfather’s day. While today’s rotoscope artist works almost exclusively with computers and continuously evolving rotoscoping software, the fundamentals of rotoscoping remain the same as a century ago: Rotoscope artists provide traced outlines (mattes) so that live-action objects can be integrated into layers for films, television shows, and video games. Today, instead of manually tracing each frame by hand, computers and complex software is used to make the process slightly easier.

Duties

Rotoscoping is considered by many in the animation field as some of the simplest work, yet it’s also some of the most tedious, requiring a great deal of patience. The fundamental duties of a rotoscope artist are to trace over live-action movements on film, to create more realistic and fluid animation; the tedious work of tracing these movements frame by frame has been somewhat alleviated in the modern digital environment. The old technique of projecting film images onto a glass panel to be redrawn (the projection equipment is the “rotoscope”) has been almost completely replaced by computers. Today’s digital rotoscope artist creates detailed digital mattes with 2-D image processing and drawing tools; the mattes are then used to remove wires, rigs, and other unwanted elements, as well as to make background fixes and extractions. Rotoscope artists are important in the visual effects field, manually creating mattes that combine different elements of foreground images to be composited over background images to create a single image; the goal is to create superior live-action or CG composites, and in turn create visual effects far superior to those done without rotoscoping. While rotoscope artists are not called for in every instance of animation or visual effects, they are still required by many studios, and knowledge of rotoscoping is considered fundamental to those desiring careers in effects and design.

Skills & Education

Though it is an entry-level position, becoming a rotoscope artist requires a great deal of education and experience; most commonly held degrees by rotoscope artists are degrees in fine art, drawing, animation, or graphic design. Knowledge of the latest programs, like Shake, Nuke, Digital Fusion, and other node-based software, is extremely helpful. Drawing and painting skills are a must, as rotoscoping requires a steady hand, a keen eye for detail, and the ability to create exact and consistent images in a timely manner, whether manually or digitally. Besides skill, knowledge, and the desire to spend hours on end rotoscoping, three of the most important attributes to becoming a successful rotoscope artist are patience, patience, and more patience. While it may not be the final career destination for most, it can be a key to proving your digital artistry and work ethic on the path to bigger and better things in the animation and visual effects industry.

What to Expect

Rotoscope artist is an entry-level position at most studios. You can make anywhere from $15-$50 dollars an hour, depending on experience, the project, and the studio. Steady work with a studio is possible, but you should expect to be hired on a project-only basis. The position of rotoscope artist often leads to more lucrative and skilled positions such as compositor. You should also be prepared to learn new software as it appears, and be ready to work on commercial and film products that may not be as romantic or challenging as hoped; while rotoscoping an advertisement for investment banking firm may not be the goal of most artists, it’s a great way to get your foot in the door.

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, 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,

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 Art of Roto / Photo Credit: FX Guide

WHAT DOES A RIGGING GAFFER? (In the Entertainment industry. What Does A What does a Rigging Gaffer?)

Large Gaffer Grip / Photo Credit: Kupo Grip

WHAT DOES A RIGGING GAFFER? (In the Entertainment industry. What Does A What does a Rigging Gaffer?)     

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

What Does A Rigging Gaffer Do?

Rigging gaffers -- also known as lighting technicians -- set up the lighting for movie and TV sets. Gaffers combine artistry with technical electrical elements to achieve a compelling atmosphere for each project. In addition to a generous salary, there are other job benefits, such as pride in producing something unique, involvement with interesting people, and opportunities for advancement and higher wages.

You can freelance as a rigging gaffer, although you might find it financially advantageous to join a union, such as the International Alliance of Theatrical Stage Employees, or IATSE. If you freelance, you can base your wages on the union rates, which vary according to your experience and other considerations.

For both stage and screen, the same is usually true: lighting takes the longest to set up. On any film or television set, you can expect the lighting crew to require the most installation time—with the exception of complex special effects rigs or especially ornery actors. Therefore, the rigging gaffer and his or her crew prepare for each setup and location by laying out the broad strokes that allow the chief lighting technician (gaffer) and cinematographer (director of photography) to come in and make minor adjustments.

Duties

The rigging gaffer is a member of the electrics or lighting department and works under the direction of the gaffer and the DP. He or she has a crew of set lighting technicians and set wiremen, including a best boy, and is generally responsible for pre-lighting on set. Ahead of principal photography on a new scene or location, the rigging gaffer arrives to survey the site and plan installation as per the gaffer’s instruction. This person supervises the crew in unloading the lighting truck and installing cable, rigging equipment, and lighting instruments according to the gaffer’s design. This is only preparatory work, as the primary lighting crew will follow to focus lights and refine the look, as will the grips install gobos and other accessories. Essentially, the rigging gaffer ensures that all gear is in working order, in place, and ready to be locked down upon arrival of the gaffer.

Skills & Education

As a senior member of the electrics crew, the rigging gaffer must have an expert-level knowledge of production lighting equipment, electricity, and principles of lighting for film and digital video. A college degree in film and television production is encouraged, and courses in photography, fine art, and electrical engineering are beneficial. Specific training in electrical safety and proper wiring is necessary in the field of production lighting. The ability to troubleshoot and conduct repairs down to the component level on all electrics department gear is especially beneficial. The rigging gaffer should be an effective leader who is capable of delegating work and monitoring multiple subordinates, as well as ensuring efficient use of time in the installation process.

What to Expect

To attain the role of rigging gaffer, you must first gain experience as a best boy and set lighting technician or set wireman. This person is second to the gaffer and therefore may be required to assume the responsibilities of the chief lighting technician in his or her absence. As with most technical positions on set, work as a rigging gaffer may require the individual to carry equipment in excess of 50 pounds and involves working around at heights and with high amperage systems. The role of the rigging gaffer is typically a freelance position and is hired by the gaffer or director of photography. Full-time employment may be available with production rental houses that supply lighting equipment and contract technicians for feature production. Rigging gaffers are eligible for membership in IATSE, the union that represents artists and technicians in theatrical production, as well as film and television. On union calls, or work secured through the union hall, technicians are required to supply a basic assortment of personal tools while on set. The same is often true for non-union gigs, so it is a good idea to spend the money on your own Gerber or Leatherman multi-tool, as well as a small flashlight, c-wrench, and gloves.

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, 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,

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.

Large Gaffer Grip / Photo Credit: Kupo Grip

WHAT DOES A CGI RENDER WRANGLER? (In the Entertainment industry. What Does A What does a CGI Render Wrangler?)

Data - Render Wrangler / Photo Credit: Elsbeth - WordPress

WHAT DOES A CGI RENDER WRANGLER? (In the Entertainment industry. What Does A What does a CGI Render Wrangler?)     

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

What Does A CGI Render Wrangler Do?

Rendering is the pivotal process in CGI of turning computer data into a sequence of viewable images; the render wrangler is responsible for monitoring and controlling the rendering process, while also managing rendering priorities based on the needs of department supervisors and production management. Render wranglers can work on projects from the pre-visualization stage until the project is delivered for compositing, working with the CG department. As an entry-level position, becoming a render wrangler can be a great starting point for those desiring a career in computer animation.

Render Wranglers supervise the rendering process. In computer-generated imagery (CGI), rendering is the process of converting computer data and outputting it as a sequence of viewable images. Render Wranglers monitor and control the rendering process and manage the render farm. They can work on a project from previs (previsualization) at the start of production until the final material is delivered for compositing.

Rendering can be required in the planning stages and throughout production, including development and tests for models, animation, effects and lighting. Although Animators usually check their own work in progress, animation may need to be rendered to view subtle movements such as facial expressions. Render Wranglers deliver the final rendered computer-generated (CG) elements to Compositors.

Artists from various departments submit completed data for rendering. This is placed in a queue for Render Wranglers to prioritize the work and allocate machines. This can be anything from a few computers to a major render farm of, perhaps, a thousand machines. They continuously check the computers to ensure there are no technical problems which might interfere with a successful output.

Render Wranglers may receive directions from Producers, Supervisors, Coordinators or Resource Managers and have contact with artists in various CG departments, particularly to sort out problems that they are unable to resolve themselves. When they are new to the role, Render Wranglers can expect to shadow more senior colleagues for a limited period before starting on day shifts with supervision. With more experience, they can also expect to be assigned to night shifts. Rendering Departments work on Rota systems; there are usually three shifts over 24 hours so the job can involve anti-social hours.

This role offers a good opportunity to gain professional experience and acquire a broad based knowledge of CGI procedures within a production environment.

Duties

Life on the farm is always interesting for render wranglers. As supervisors of the rendering process, they are responsible for monitoring the render farm, whether that means just a few computers or hundreds. The data submitted by artists and from other departments must be managed and prioritized in order of importance by the render wrangler and assigned to particular computers for rendering. Organization is a large part of a render wrangler’s duties; he or she must manage materials as they come and go, name files when necessary, allocate them to the appropriate space on the server, and process them for transport to other facilities. Render wranglers must also be vigilant of the file space on the server and make sure that old or outdated renders are deleted and there remains enough space to continue working; backing up and restoring files is also a common task. It is the responsibility of render wranglers to ensure that the render process runs smoothly and is free of technical or other issues that may cause delays. If a problem is discovered, it is the responsibility of the render wrangler write a report on the issue and deliver recommendations to the artist or appropriate party; some wranglers can and do fix these issues themselves, though in larger CG houses this is uncommon. Because render wranglers have to move millions of files, knowledge of scripting can come in handy.

Skills & Education

While a degree is not required to become a render wrangler and appropriate and specialized training is sometimes enough, many are likely to have BS degrees in computer science, computer animation, or any variety of computer or art degrees. Programming expertise is a must; knowledge of the latest industry 3-D packages, as well as other applicable programs, is also common. Independent problem-solving, organizational, and managing abilities should be coupled with the render wrangler’s software knowledge and expertise. When combined with the ability to work well in teams and meet strict deadlines, there are few data they cannot wrangle.

What to Expect

As render wrangler is an entry-level position, you can expect to receive directions from a variety of superiors and work with many different personalities in all CG departments, from artists to resource managers. The main duty is to wrangle the cows—er, the data, to make sure that it is where it needs to be, healthy, and ready to move on to the next stop along the way. Many entry-level render wranglers shadow more senior wranglers for a spell before assuming supervisory roles. Rota systems, long hours, night shifts, low starting pay, and the often anti-social lifestyle of the computer geek should be taken into account when considering a job as a render wrangler, but it is a solid stepping stone into a great career in CG.

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, Warner Bros, UCAS,

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.

Data - Render Wrangler / Photo Credit: Elsbeth - WordPress

WHAT DOES A RE-RECORDING MIXER? (In the Entertainment industry. What Does A What does a Re-Recording Mixer?)

 Mixing Engineer station / Photo Credit: Berklee College of Music

WHAT DOES A RE-RECORDING MIXER? (In the Entertainment industry. What Does A What does a Re-Recording Mixer?)     

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

What Does A Re-Recording Mixer Do?

In the post-production process for film and television, the re-recording mixer is responsible for pulling together the complete soundtrack, and refining that audio for technical and aesthetic quality. He or she combines the efforts of the sound effects editor, Foley artist, music editor, and dialogue editor into one cohesive sound product that seamlessly accompanies the images on screen.

Duties

The re-recording mixer, formerly known as the dubbing mixer, is usually hired at the start of post-production and works under the direction of the supervising sound editor. This person works closely with the larger post sound department, producer, and director to expertly fuse together the numerous audio elements that complete a film or television show. His or her first task is to mix a soundtrack for audience previews of the show. With all sound effects and dialogue complete, the mixer refines the audio, combining the various separate tracks. Finessing the audio includes adding crossfades and balancing the volume of the score underneath the dialogue, as well as ensuring that dynamic sounds are neither too soft nor too overpowering. At this stage, music in the film is usually part of a temporary soundtrack produced by the music editor and music supervisor, and may not make the final cut. Mixing is performed in a dubbing studio, which typically houses a large mixing console and theater-style projection screen, as well as limited seating for viewing rough cuts.

Following audience previews, the movie or TV show will likely endure further picture editing passes, as well as additional audio editing. When the director and producer have locked the picture, meaning that they have approved the final visual edit, the re-recording mixer may then create the final mix. This will include the final musical score and any newly looped dialogue or sound effects. Once again, the audio is balanced in the dubbing studio with the input of the director and supervising sound editor, as well as the sound designer. The soundtrack is smoothed and balanced, and the number of tracks is reduced further and mixed to 5.1 surround sound specs, the industry standard. The duration of the editing process will vary greatly depending on the size and type of production, but can require as little as two weeks or as many as 12.

A re-recording mixer in North America, also known as a dubbing mixer in Europe, is a post-production audio engineer who mixes recorded dialogue, sound effects and music to create the final version of a soundtrack for a feature film, television program, or television advertisement. The final mix must achieve a desired sonic balance between its various elements, and must match the director's or sound designer's original vision for the project. For material intended for broadcast, the final mix must also comply with all applicable laws governing sound mixing (e.g., the CALM Act in the United States and the EBU R128 loudness protocol in Europe).

The different names of this profession are both based on the fact that the mixer is not mixing a live performance to a live audience nor recording live on a set. That is, he or she is re-recording sound already recorded elsewhere (the basis of the North American name) after passing it through mixing equipment such as a digital audio workstation and may dub in additional sounds in the process (the basis of the European name). While mixing can be performed in a recording studio or home office, a full-size mixing stage or dubbing stage is used for feature films intended for release to movie theaters in order to help the mixer envision how the final mix will be heard in such large spaces.

During production or earlier parts of post-production, sound editors, sound designers, sound engineers, production sound mixers and/or music editors assemble the tracks that become raw materials for the re-recording mixer to work with. Those tracks in turn originate with sounds created by professional musicians, singers, actors, or foley artists.

The first part of the traditional re-recording process is called the "premix." In the dialog premix the re-recording mixer does preliminary processing, including making initial loudness adjustments, cross-fading, and reducing environmental noise or spill that the on-set microphone picked up. In most instances, audio restoration software may be employed. For film or television productions, they may add a temporary/permanent music soundtrack that will have been prepared by the music editor, then the resulting work will be previewed by test audiences, and then the film or television program is re-cut and the soundtrack must be mixed again. Re-recording mixer may also augment or minimize audience reactions for television programs recorded in front of a studio audience. In some cases, a laugh track may augment these reactions.

During the "final mix" the re-recording/dubbing mixers, guided by the director or producer, must make creative decisions from moment to moment in each scene about how loud each major sound element (dialog, sound effects, laugh track and music) should be relative to each other. They also modify individual sounds when desired by adjusting their loudness and spectral content and by adding artificial reverberation. They can insert sounds into the three-dimensional space of the listening environment for a variety of venues and release formats: movie theaters, home theater systems, etc. that have stereo and multi-channel (5.1, 7.1, etc.) sound systems.

Skills & Education

A college degree in film and television production with an emphasis on sound editing and mixing is recommended for this career, and courses in recording arts and music production are also beneficial. The re-recording mixer must be proficient in the use of multiple dubbing consoles, as well as audio editing systems. Knowledge of recording consoles and audio software applications is helpful. This career requires an individual who understands the artistic and technical concepts of sound design and audio balance, and is capable of creatively mastering a soundtrack that will produce an emotional response complementary to the visual action. There is no standard formula for mixing a great audio track; it takes intuition, experience, and technical know-how to perfect.

What to Expect

A re-recording mixer is generally employed full-time or part-time by a post-production sound studio, but may also work on a freelance basis. On television shows and short-format productions the re-recording mixer may wear several hats, acting as the sound designer, ADR editor, or any combination of additional roles. Conversely, large projects and big-budget films may employ a small team of mixers who divide the work of producing the final mix of music, sound effects, dialogue, and Foley sound. A path toward this career may begin in any area of post-production sound. Internships or apprenticeships are available at independent companies or major motion picture studios. With several years of professional employment in this role, a re-recording mixer can seek advancement as a supervising sound editor or sound designer, or establish his or her own studio.

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, Warner Bros, UCAS,

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.

 Mixing Engineer station / Photo Credit: Berklee College of Music