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.”

Monday, July 16, 2018

WHAT DOES AN ASSISTANT PROPERTY MASTER DO? (In the Entertainment industry. What Does an Assistant Property Master Do?)

USD Movie Prop Money / Photo Credit: The Green Head

WHAT DOES AN ASSISTANT PROPERTY MASTER DO? (In the Entertainment industry. What Does an Assistant Property Master Do?)

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

What Does an Assistant Property Master Do?

Just about everything an actor touches or uses in a scene is considered a prop. Taking into account the full run of a two-hour movie, which could amount to hundreds or even thousands of objects. To keep the massive inventory organized and make sure that every item is at the cast’s fingertips when it’s needed, the assistant property master is the right hand of the department.

Duties

Under the supervision of the property master, the assistant begins work during preproduction by helping perform a script breakdown and assembling a list of props to be purchased or fabricated. Where necessary, this person carries out research relevant to the historical context of the setting and environment to ensure adherence to the director’s vision. In the absence of the property master during production, the assistant is the department representative on set. In relation to principal photography, the assistant property master ensures all props arrive to the shooting location in a camera-ready fashion and are placed on set to the prop master’s satisfaction. During filming, the assistant maintains prop continuity between scenes. He or she also makes repairs to damaged items or facilitates replacements of props as needed.

Skills & Education

The assistant prop master must have a thorough knowledge of the production process; this includes experience performing a script breakdown and historical research; an understanding of how to source props from rental houses; and experience cataloguing for tracking scene continuity. Artistic and technical skill in the fabrication of original props is also necessary. A college degree in film and television production or theatrical design is beneficial to this career. Where the props department must supply firearms or other weapons for filming, the assistant property master will be required to carry applicable certifications related to acquiring and storing regulated weapons and special effects ammunition.

What to Expect

Assistant property masters typically graduate to the role from another junior position within the art department; this could be as a painter, props technician, faux fabricator, or production assistant. Most crucial to advancing your career is developing positive working relationships with senior department crew. To do this, you must build a reputation for being dedicated, highly organized, and proactive. On set, the pace can be frantic. If you take initiative and do not wait to be ordered around, you’ll become a valued member of the team. In this role, the amount of autonomy you have will be dependent on the property master. In many cases, it will be your role to deal with the minute-by-minute needs during filming. A successful assistant is one who can quickly evaluate and fix problems without having to halt work to hunt down the boss.

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, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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.

USD Movie Prop Money / Photo Credit: The Green Head

Sunday, July 15, 2018

WHAT DOES AN ASSISTANT DIALOGUE EDITOR DO? (In the Entertainment industry. What Does an Assistant Dialogue Editor Do?)

Dialogue Editing for Motion Pictures / Photo Credit: YouTube - José Luis Díaz

WHAT DOES AN ASSISTANT DIALOGUE EDITOR DO? (In the Entertainment industry. What Does an Assistant Dialogue Editor Do?)

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

What Does an Assistant Dialogue Editor Do?

On a lucky day, the average film may require only a few minutes of replacement dialogue to substitute for unusable audio recorded during principal photography. Then there are those films that necessitate a great deal of ADR because of added special effects or particularly challenging environmental conditions where ADR editors may be working on replacement tracks in the double-digits. When a single ADR editor winds up with a massive workload, he or she often relies on an assistant to keep the process organized and efficient.

Duties

The assistant dialogue editor works within the post-production sound department under the supervision of the ADR editor. This person is chiefly responsible with the day-to-day operation of the dialogue editing unit, allowing the ADR editor to exclusively focus on cutting together the audio tracks. The assistant may perform any tasks delegated by the ADR editor or supervising sound editor, but typical duties will include organizing and retransferring replacement dialogue, cueing tracks before each session, and laying up of tracks. When the ADR editing process is complete, the assistant dialogue editor is responsible for readying the tracks for the final mix by cleaning the audio—removing minor noise—and preparing cue sheets.

Skills & Education

A college degree in recording arts or film and television production with a concentration in audio post-production is recommended for this career. The assistant dialogue editor must be proficient in the use of audio editing consoles and software, as well as the standard techniques commonly used in the post-production process. Familiarity with the different types of microphones and their intended applications is required. Like any technician working in the audio field, the assistant should have a good ear for audio, which requires extensive training. Courses in music appreciation and sound theory are useful in developing a discerning ear. It is desirable that the candidate be meticulous and attentive. The editing process for both audio and picture is long and arduous; a simple mistake by a rookie assistant could cost several hours and thousands of dollars in lost time. On the other hand, excellent performance could lead to opportunities to advance and become the primary ADR editor.

What to Expect

This can be an entry-level position with the appropriate education and demonstrated skills. Employment opportunities may be found as a full-time assistant in a post-production audio studio or as a freelancer on a contract basis. Trainee positions, which are essentially internships, may also be available where assistants are ranked as mid-level roles. To get a foot in the door, seek out any relevant employment within a post-audio studio. Even if you are just getting coffee for the editor or labeling CDs, it is a start. On the job, you can expect long, irregular hours depending on the production schedule. The closer the deadline looms, the longer you can expect to be in the studio. Like the music industry, it is not unheard of to spend 18 hours in the editing bay.

Dialogue Editing for Motion Pictures / Photo Credit: YouTube - José Luis Díaz

Friday, July 13, 2018

WHAT DOES AN ANIMATOR DO? (In the Entertainment industry. What Does an Animator Do?)

Digital Animator / Photo Credit: Lynda

WHAT DOES AN ANIMATOR DO? (In the Entertainment industry. What Does an Animator Do?)

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

What Does an Animator Do?

Computer animation has cemented its place in film and television, leaving behind traditional hand-drawn animation. Yet, despite the evolution from painted cells to software, the techniques and principles of animation remain largely unchanged. Animators work like actors or puppeteers to manipulate the models created in the digital environment, to create movement, interaction, and expressions of emotion through the characters.

Duties

Animators do not draw or paint characters and objects, but work behind the modelers and layout artists to manipulate the existing characters in a digital environment. When the animators begin the process of hand keying movement (manually initiating movement by changing the numeric values of triggers that control all flexible points on the model) the dialogue and background sound have already been completed. The artists match animated action to the script and audio provided, based on the guidance of the supervising animator and the production’s director. Depending on the complexity and scope of the production, animators will be assigned to specific characters or scenes and asked to concentrate only on that portion of the project. The animations are tested, revised, and refined to perfect the fluidity of motion and best approximate natural interaction and expression.

Animators rely on reference sources to simulate life in the natural world, observing animals or objects in their natural environment, and frequently work in small teams to physically act out scenes to provide a basis for blocking. In some cases, animators may tape or observe the voice-over actors during the recording of dialogue, in order to mimic the actor’s facial expressions and gestures in the character. When this portion of the production process is complete, the animated scenes are sent to the lighting and shading artists to implement finer touches (approximating the lighting in a live action production); then texture artists add depth and the realistic qualities of hair, skin, and other surface textures. When all visual elements are complete, all of the data is ported to networked computers (the render farm) to be rendered into frames of film. The rendering process fills in the minute movements between animations—called “in-betweens”—and adds motion blur, which simulates the effect of movement in live action film or tape.

Skills & Education

Though computer animation may require very little—if any—actual drawing, employers prefer to hire artists with a solid foundation in traditional art. A college degree in computer animation or fine art is highly recommended, and in some cases may be a requirement. Courses in art history, drawing, painting, and acting are encouraged. Education in anatomy and physiology is especially helpful in understanding and mimicking human and animal forms, and physics will give realistic underpinnings to animated motion. Animators must have a keen attention to detail and be capable of thinking conceptually. The work calls for someone who can patiently toil away over the minutiae, as the process of animation is inherently slow and painstaking.

What to Expect

Those with a solid education and exceptional artistic talent can find entry-level work as a junior or assistant animator, typically tasked with working on background objects or characters or working under supervision to complete short segments of animation on a particular character. Additionally, any entry-level role in a production art department is a great first step toward eventual work as an animator, as it gets your foot in the door and allows you access to the veteran professionals who can mentor you in your career. If there’s a particular studio you’re interested in working for, do your research and find out if the studio offers internships or an apprentice program, and familiarize yourself with the senior art and animation staff. When submitting your portfolio, keep your reel short (usually no more than 10 minutes) and provide only your best work, the stuff that best adheres to the specifications given in the job description. Your reel should be a sample of your abilities, not a comprehensive display of your entire life’s work.

Digital Animator / Photo Credit: Lynda

WHAT DOES AN ANIMATION MODELER DO? (In the Entertainment industry. What Does an Animation Modeler Do?)

Animation 3d / Photo Credit: Bartosz Królak - Graphic Design Stack Exchange

WHAT DOES AN ANIMATION MODELER DO? (In the Entertainment industry. What Does an Animation Modeler Do?)

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

What Does an Animation Modeler Do?

An animation modeler creates the CG character, environment, and hard surface models of an animated feature in three dimensions. They work closely with art directors to be sure that all models conform to the intended design and visual style of the animated film.

Duties

Animation modelers are essentially computer graphics sculptors. They usually work under the lead animation modeler and are responsible for the creation of everything that is shown on the screen of an animated feature: environments, props, sets, and any hard surface models, according to the needs of the production. (Sometimes they work on characters as well, but many shows hire specific character modelers. If they work on characters, animation modelers attempt to build characters that show personality and mood.) The animation modeler determines whether certain design elements are feasible or practical for the film, and provide solutions that adhere to the director’s vision. A wireframe representation of each 3-D object is created using software like Maya and 3ds Max. “Patch modeling” is used most often to produce curved objects like furniture, cars, or buildings. “Box modeling” is best for developing characters and models based on living things. “Poly modeling” is the most time-consuming method for creating 3-D objects on screen; however, it is also the best and most lifelike.

Skills & Education

Above all, an animation modeler requires a strong artistic ability and a high level of creativity. They must be able to communicate effectively with other members of the production team and pay attention to detail. A solid understanding of anatomy, proportion, and mechanical functionality is a must. Preference is usually given to those with a bachelor’s or equivalent degree in computer graphics, industrial design, fine arts, or a similar field, but a strong portfolio is the most important factor in hiring an animation modeler. Experience in 3-D CG for film digital animation or visual effects is usually desired. Employers especially look favorably upon those with expertise in organic, hard surface, and procedural modeling. Animation modelers must be comfortable with computers, obviously, and willing and able to learn new programs and software as needed. Proficiency with 3-D animation software such as Maya is usually a requirement to become an animation modeler. Also, learning Linux/UNIX platforms will greatly enhance your marketability.

What to Expect

Animation modelers are chosen based on the quality of their portfolios and the extent of their knowledge about 3-D animation. Once hired, you will probably work under the supervision of a lead animation modeler: Pay attention to his or her feedback and learn. You may get to attend dailies, where the production team reviews the progress of your work; and you may spend a large amount of time making the requested changes to your models. This can sometimes be frustrating, since it requires you to undo work that you have spent quite a bit of time on, but suck it up—its valuable training. Because animation modelers work on strict deadlines, you will probably work long hours in front of a computer in order to meet the requirements of the pipeline; just hope you get paid overtime.

Animation 3d / Photo Credit: Bartosz Królak - Graphic Design Stack Exchange

Thursday, July 12, 2018

WHAT DOES AN ADR EDITOR DO? (In the Entertainment industry. What Does A ADR editor Do?)

ADR Editing / Photo Credit: Adobe Stock - Resurface

WHAT DOES AN ADR EDITOR DO? (In the Entertainment industry. What Does an ADR editor Do?)

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

What Does an ADR editor Do?

Nothing can take a viewer out of the fantasy that a film creates quicker than garbled dialogue. As a pivotal member of the audio post-production team, the ADR editor makes sure that all the spoken dialogue in a film is of the highest possible audio quality.

Duties

An ADR editor’s job begins after the film has been shot and the production tracks have been recorded on DAT, or digital audio tape. During principal photography, it is the shared responsibility of the production sound mixer and script supervisor to take note of any scenes where unwanted noises interfere with the clean recording of dialogue. The noises could be environmental, such as planes overhead or excessive echoes generated in the sound stage. It is also common for the director to give instruction to the actors during a scene, and therefore his or her voice is captured on the recording. The notes taken during production are copied to the editor’s script, and a copy is given to the ADR editor during post-production. Actors are scheduled for looping sessions to rerecord their lines in order to replace the unusable audio tracks.

ADR (automated dialogue replacement, also known as looping) is nothing more than the rerecording of dialogue to synchronize it with to the moving image. The actor uses the guide track to match the moving lips on screen with his or her voice—or, in the case of a crowd scene that requires background conversational noise, the ADR editor supervises a “walla group,” literally a group of people making nonsense sounds to approximate crowd chatter. The ADR editor monitors the actors while they watch footage and re-voice their lines as closely as possible, making sure that the dialogue syncs up with the footage, which is aided by the DAT chasing the timecode impulses. When all looping sessions are complete, and the director is pleased with the captured dialogue, the ADR editor sends the finished tracks to the re-recording mixer where the dialogue is combined with the final sound effects and musical score.

Skills & Education

A college degree in film and television production with a concentration on audio post-production is beneficial to this career but may be substituted for a degree in recording arts with a particular focus in audio engineering. The ADR editor must be proficient in the use of analogue and digital audio recording consoles, as well as Pro Tools digital audio software. He or she should be knowledgeable about the distinctions between dynamic, condenser, carbon, and ribbon microphones and understand the appropriate uses of each in relation to recording dialogue. Excellent communication skills and the ability to work collaboratively are crucial in this position, as the ADR editor will cooperate directly with lead and supporting cast to complete looping sessions. He or she must be confident in communicating the director’s needs but also professional in coaching the actors to achieve their best work. The ADR editor instructs the actor in delivering lines in sync with the picture and timecode as well as in replicating the same quality of performance and line delivery the director demanded on set.

What to Expect

ADR editors may work as freelance technicians or as full-time employees of an audio post-production studio. During heavy production seasons, he or she may be contributing to multiple projects simultaneously, leading to workdays that stretch late into the night and well past the eight-hour mark. Like everyone else in the film and television business, this person must be flexible in accommodating schedules and be willing to be available at 5 in the morning or 10 at night. To prepare for a career as an ADR editor you may seek out an entry-level position at a post-production audio studio. Work as an intern, trainee, or assistant is immensely valuable in understanding the looping process and how it relates to refining the complete film soundtrack.

ADR Editing / Photo Credit: Adobe Stock - Resurface

WHAT DOES A 3-D SCANNING TECHNICIAN DO? (In the Entertainment industry. What Does A 3-D Scanning Technician Do?)

3d scanning / Photo Credit: Fab Academy Archive

WHAT DOES A 3-D SCANNING TECHNICIAN DO? (In the Entertainment industry. What Does A 3-D Scanning Technician Do?)

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

What Does A 3-D Scanning Technician Do?

Three-dimensional scanning is a process by which people, objects, or environments are analyzed by a device that can transmit that data for constructing digital 3-D representations of the subject. This process differs from motion capture.

Duties

The 3-D scanning technician is responsible for the installation and operation of scanning equipment and associated software, which is often portable to meet the needs of clients on location. There are numerous systems available for 3-D scanning, and many studios use proprietary systems. The devices used can vary from a handheld unit, which transmits real-time images to a software program, to a stationary pad with an automated rotating sensor. In either case, the technician prepares the subject for scanning, adjusts and calibrates the machine, and conducts the scan. In real time, the technician can monitor the accuracy of the scan and initiate duplicate scans to ensure that the subject is properly analyzed.

Upon conclusion of the scanning process, which generally takes only minutes, the 3-D scanning technician reviews the image constructed by the software and may make minor adjustments to the polygon model. At this point, he or she exports the virtual object to a separate software application, where a modeling artist will take on the task of adding color and texture. Another artist will be responsible for animating the object. In some instances, the 3-D scanning technician may be given the opportunity to complete the model refinement.

Skills & Education

Employment in the field of 3-D scanning requires training in the relevant technology, including scanning devices and computer modeling software. A college degree in computer animation or other program that teaches the techniques of three-dimensional modeling and visual effects is recommended. Depending on the needs of the studio, 3-D scanning technicians may be required to have a background in computer programming relevant to writing and editing code associated with software. In such cases, a degree in computer science or related field is necessary. Additionally, this career requires artistic experience in one or more areas of modeling, animation, texturing, lighting, or character rigging.

What to Expect

Employment opportunities exist with visual effects studios, game developers, and companies that exclusively specialize in 3-D scanning and motion capture services. As systems will vary widely from one studio to the next, new hires will be trained on the operation of proprietary systems and software. However, applicants are expected to have experience with at least one model of stationary and handheld scanner. The position can be an entry-level role with appropriate education.

Three-dimensional visuals represent expanding technology in entertainment, frequently used within film, television, and video game development. The field is growing and constantly innovating to keep pace with the increasingly ambitious visions of creative producers. Those that venture into the field should commit to continuing their education within the craft.

3d scanning / Photo Credit: Fab Academy Archive

Tuesday, July 10, 2018

WHAT DOES A 3-D MOTION TRACKER DO? (In the Entertainment industry. What Does A 3-D Motion Tracker Do?)

CS6 3D Motion Tracking / Photo Credit: YouTube - CS6

WHAT DOES A 3-D MOTION TRACKER DO? (In the Entertainment industry. What Does A 3-D Motion Tracker Do?)

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

What Does A 3-D Motion Tracker Do?

Motion tracking is the foundation upon which all live-action visual effects are built; this is the first step in creating a match move, which allows a computer-generated object to be inserted into live-action footage.

Duties

The 3-D motion tracker works as a member of the visual effects team during post-production and is responsible for identifying and tracking features in a scene that will later include CGI objects. He or she typically works under the direction of the visual effects supervisor and a senior artist. To begin, the motion tracker uploads a selection of footage to a software program like PF Track. Next, he or she must determine if and where masks should be applied within the frames. Masks, as the name indicates, effectively hide information from the program that should not be tracked. For example, if the scene includes an actor moving about a room, the motion tracker may wish to hide that actor in favor of tracking the stationary furniture within the real space.

The key task of motion tracking is setting points, which represent 2-D coordinates within each frame. The software program uses these coordinates to determine and track the camera’s position throughout the scene. The artist selects stationary points within the space that represent real objects and where there is a high degree of color contrast—corners work especially well. Many software applications will offer the option to automatically place points based on color contrast information. In this case, the artist reviews the points through the progression of frames and then deletes any errant points that are misplaced or unnecessary. The technique of interactive tracking requires the artist to place points by hand in each frame in order to create an effective track; this is sometimes necessary in footage that includes a great deal of object movement or camera jitter in the sequence.

Once the points are set to the motion tracker’s satisfaction, he or she allows the program to calibrate in order to solve for 3-D motion. Because video footage represents a series of 2-D images, the software applies an algorithm that will make it possible to treat each frame as a 3-D space when inserting three-dimensional objects. CGI objects will then be augmented to reflect the camera’s movement through the scene, accurately reflecting perspective, size, and distance relative to the camera and real objects in the scene. The artist must also establish a ground plane that tells the software where the spatial axis of the environment within the frame is; this orients the virtual camera and selected points in a definite space. At this point, the motion tracker will typically export the completed frames to a new program like Maya where the 2-D frames are reconstructed by a match mover to represent a 3-D environment, and the computer generated objects are placed within the scene.

Skills & Education

A career as a 3-D motion tracker requires training in visual effects techniques and appropriate software. A college degree in computer animation or related field is the typical path toward employment. Visual effects artists, whatever their specialties are, must have a solid education in composition, lighting, perspective, and similar artistic aspects of cinematography. While the computer lifts most of the burden of mathematical calculations off the artist, it is beneficial to understand the algorithms at work in the motion tracking process. The techniques of the craft are constantly evolving and becoming more sophisticated, so the more the artist grasps of the equations involved, the more he or she is able to contribute to the advancement of motion tracking in cinema.

What to Expect

The role of the 3-D motion tracker is considered an entry-level position within a visual effects studio. A rookie may be recruited directly out of college based on his or her VFX reel or may graduate to the role from that of render wrangler. On the job, the work of the other artists and animators further down the post-production pipeline is dependent on the motion tracker’s initial process; this means the artist must show a keen attention to detail and a meticulous work ethic. A motion tracker who can deliver clean tracks efficiently will prove invaluable to the studio, thereby moving another step closer to promotion. Career advancement will depend on your specific skills and artistic or technical talent, but related careers include rotoscope artist, match mover, lighting artist, texture artist, and animator.

CS6 3D Motion Tracking / Photo Credit: YouTube - CS6

Monday, July 9, 2018

ACTING SCHOOL? (In the Entertainment industry. What kind of things do you actually learn in an acting school? Can acting be taught?)

Act Class Slide / Photo Credit: Old Creamery Theatre

ACTING SCHOOL? (In the Entertainment industry. What kind of things do you actually learn in an acting school? Can acting be taught?)

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

What kind of things do you actually learn in an acting school? Can acting be taught?

You are exposed to a wide sampling of very different acting styles/methods, and spend weeks immersed in a particular technique. Each is uniquely different, and each have their strengths and weaknesses. Ultimately, a program should expose you to as many different systems of actor training. Then, it will be up to you to decide which system feels most comfortable, and offers you the most support and freedom to grow. The names of the dominant theories are Strasberg, The Method, Stanislavski, Meisner, Uta Hagen, Stella Adler, HB Studio, Michael Chekhov, and Kristin Linklater, to name a few.

Secondly, acting classes are laboratories where students PLAY and take risks, experiment, improvise, use their imaginations, work collaboratively, perform solo in front of their peers, create shapes, try on animals, learn to use their voices safely and most effectively, learn stage combat, take classes in dialects and elocution, study stage makeup, learn to comport themselves appropriately for different time periods in history, and many more things. What's most important is that you are in a safe place with your peers, and have permission to take chances and learn to socialize and work well in groups. This peer review is an experience you'll never be able to fabricate or duplicate on your own and outside a classroom.

Finally, upper level acting classes often center on scene work, where students will be paired together in 2-3 person scenes from classic and popular plays throughout history -- classical and contemporary. Again, this is another invaluable opportunity to learn how to work with and be a good partner. However, the most important experience you will get from performing scenes in front of your peers, is the feedback and constructive criticism you will receive from your teacher and peers. It may be hard to hear, but this generous and loving advice might be the last you get before it really gets ugly out in the real world. Soak it up. You'll miss acting school when it's over. Trust me. I have three university degrees in theatre, and never wanted to leave.

Good acting requires a mix of natural talent and learned skill, the latter of which can take many forms, including formal schooling and learning on-the-job. The main traits actors rely on are vocal and physical agility, emotional vulnerability, fantastic listening skills, an intellectual capacity that allows them to analyze scripts and stories, a good memory, and a knack for collaboration.

An acting workshop is a meeting of actors or others of one specific trade to learn how to hone their skills and to network with other actors, acting coaches and casting directors. Many actors will critique, mentor and coach their peers and offer tips on how to improve their preparation for roles, auditions, and enhance their performing abilities. Acting workshops are often staffed by professionals, which can include acting coaches, directors, or actors. Casting directors sometimes also act as coaches. It is usually recommended that serious actors attend acting workshops to help increase their skill.

The biggest obstacle is the emotional one. Some people are simply so guarded, they can't un-self-consciously devote themselves to their roles. They protect themselves with mannerisms or stagy voices; they over-act because they're scared that if they don't, no one will find them interesting; they under-act because they're afraid to let go; they avoid doing things that make them seem weak, immoral, cruel, foolish, or whatever else they find shameful; they don't listen and respond naturally to other actors, because they're totally focused on themselves; etc.

The second biggest obstacle is "doesn't play well with others." I've seen extremely gifted actors make themselves un-cast able by being divas on the set. If I had to choose between casting a brilliant asshole and a good team player, I would choose the latter, and so would most other directors I know. It's not worth the brilliance if it makes the entire cast and crew miserable.

One can improve in all those areas, and most actors do. But if someone is totally self-protective and blocked, he may never be able to act or he may require years of therapy before he's ready. It's certainly not the sort of thing that can be fixed during a rehearsal.

Actors also need to be willing to stick with their careers, even if that means years of being poor or having to take non-acting work to support themselves. Very few actors are able to fully support themselves via acting, including some extremely talented ones.

Act Class Slide / Photo Credit: Old Creamery Theatre

Sunday, July 8, 2018

CONTACTING A CASTING AGENT (In the Entertainment industry. Contacting a Casting Agent in the Motion Picture Industry?)

Tell Me about Yourself / Photo Credit: Amy Joberman

CONTACTING A CASTING AGENT (In the Entertainment industry. Contacting a Casting Agent in the Motion Picture Industry?)

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

Contacting a Casting Agent?

The first thing I am going to say here is that you are not always going to get a response from casting directors when you reach out to contact them. In fact, more often than not- you won’t hear back. Why? Because they receive hundreds of e-mails and letters a day and just don’t have time.

The best first step for actors wishing to connect with an agent is to send a headshot, résumé, and cover letter. Keep the résumé "as short and succinct as possible," he advises, saying there's no need for a page-long list of credits if you're just out of college or not yet a union member. Include your height and weight, he adds, and be truthful about it: "I might call you in if I knew you were a little overweight, because that's something that's needed. To call in somebody and then have them show up and be totally different, it's like, 'Wow, how can I [send] you out if you can't even be honest about yourself?' "

You’re in the wrong place. Writing to casting directors is not a quick and easy way to suddenly be inundated by offers of roles. It’s just one part of an effective marketing strategy that takes time, patience and persistence.

If you choose to include special skills on your résumé, just be sure they're truly special. If you're a lifeguard or an EMT or if you lettered in a sport, by all means point that out. But don't bury those useful skills in a list filled with trivialities, such as a talent for wiggling your ears.

The photograph you send to an agent can be fairly casual. A causal photo is as good as any. Sending a reel with clips, however, is a waste of time. Many agents looking for fresh talent, and most actors new to the business have only self-produced clips—what he calls "made-up stuff."

If you are ready to get on the radar of the gatekeepers of the roles that you know you were born for and are willing to do what it takes, read on and take action.

The fact is, casting directors will call in who they know, and one way to become someone they know is by writing to them. I’m not suggesting that you bombard them with e-mails (don’t do that!) but an e-mail even now and again, especially when you have something interesting to share is going to help you get noticed.

How… when they don’t read them?

Some casting directors read them, but don’t respond, then file them and will look through them if there’s a particular character type they are looking for:

Some will respond to say thank you for getting in touch and will file them…
Some will read them and delete…
Some will just go in the bin without being read…
But you know what? Even if they don’t read them- they are likely to still see your name and if you’ve written to them a few times, your name will become familiar to them, making them more likely to pay attention when they see a role you are submitted for…

It’s well known in the marketing world that it takes 7-9 times of you contacting someone directly with your message for them to pay attention… This is no different! And WHAT IF… They happened to be casting something that day that you fit perfectly and they do call you in? What if you hadn’t bothered reaching out?

But it’s not as simple as just sending a boring, generic e-mail out to all the casting directors you can find. In fact, I would strongly advise AGAINST doing that.

So, how do you contact them?

Research.

Agents and managers are, after all, as diverse as the actors they represent. Some are decidedly hands-on; others are more remote. Some are highly selective, representing only a few clients; others maintain a much deeper roster. Fortunately, actors these days can enlighten themselves, at least partially, by doing a little basic online research.

To grab somebody’s attention, you need to know what they want and what they need. Then you need to be the solution to their problems.

This means you need to research them first and work out why you would be the perfect fit for them and the projects they are casting.

Answer this question- why are you contacting them in particular?

And yes, this means it’s going to take a hell of a lot longer than just copying and pasting a generic e-mail and sending it to the inbox of every casting director, but this is what you need to do for your campaign to be effective.

Introduce yourself. Who are you and what is it about you that would pique their interest? Stick to FACTS such as your latest credits or awards and NOT because you are ‘the next big star’ or ‘the next Angelina Jolie’. If you do email a casting director (on a weekday!), please make sure you spell her name correctly, and also check for spelling errors in the body of an email. It is so apparent when an actor is sending out a form letter to many casting directors. And additionally, any correspondence that’s riddled with errors doesn’t get taken seriously.

Decide exactly what you are writing to them about. Choose one thing, one thing only and be clear, concise and straight to the point. No fluffy talk- it’s not about you and how you always dreamed of becoming an actor, it’s about you being able to give them what they want and need.

Types of things you could write to them about include introductions, invitations to premieres/plays, you could be thanking them for some advice they gave you, you could have seen something they are casting for and would like to request an audition or it could be something else entirely- use your imagination.

When you encounter a casting director in a social situation, or outside of an audition situation, don’t begin or end the conversation with, or put this sentence anywhere in the middle: “You didn’t call me back for the last project I saw you on.”

Warmth and friendliness are always welcome, but if you hardly know the casting director, don’t embrace her or kiss her, however innocently. However well-meaning or non-sexual the gesture is on your part, it’s not appropriate. An actor I hardly know recently kissed me on the lips when we met in the street, and I was rather uncomfortable, to say the least. If in doubt, just extend your hand.

In a conversation with a casting director, don’t just talk about you, your career, your problems with your agent, and your last or current job. A conversation is a like a good tennis game: an enjoyable, lively give and take. Taking the time to listen and be interested in another person is invaluable, and it shows that one has excellent manners, too.

Ask them for ONE action (unless it’s a thank you- in which case I’d keep it as just that). What do you want them to do? Don’t give them a million options. Do you want them to call you in for a casting? Do you want them to e-mail you back to let you know if they are coming to your premiere? Do you want them to file your CV?

Think up a catchy subject line that reflects the reason you are getting in touch. Don’t use a subject line that sounds desperate or is misleading. I would recommend tracking your numbers and testing different ones to see what you get the best response from.

What materials are you going to send? I would recommend always including your headshot, Spotlight link or CV and website. Make sure that your contact details are clear and easy to find, and include your agent’s (if you have one) as well as your own. All materials need to be top quality for you and constantly updated to stand out- do not skimp on your marketing materials. I cannot stress that enough.

Everyone is busy, pressed for time, and usually, in our business, working under tight deadlines. Be mindful and respectful of that; be friendly, but not overly forward, or impervious to the fact that casting directors and other professionals need some time of their own to rest and regroup.

Before you send:

Check your spelling and grammar…
Take out any parts where you waffle, sound desperate or is not needed to get your point across (be ruthless)…
Ask yourself if you come across as professional…
Ask yourself if you are showing your personality and are being authentic…
Check all web links and make sure your materials are up to date…

Finally: its action time- schedule regular time into every week that is purely for writing to casting directors. And do it. No excuses. Persistence is power!

Tell Me about Yourself / Photo Credit: Amy Joberman