SUN TZU QUOTES'..."You have to believe in yourself."

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/

Wednesday, February 28, 2018

ALL RIGHTS RESERVED… (In the Entertainment industry. What does all rights reserved mean?)

Copyrights All Rights Reserved / Photo Credit: Wikimedia

ALL RIGHTS RESERVED… (In the Entertainment industry. What does all rights reserved mean?)


All rights reserved

"All rights reserved" is a copyright formality indicating that the copyright holder reserves, or holds for its own use, all the rights provided by copyright law. Originating in the Buenos Aires Convention of 1910, it no longer has any legal effect in any jurisdiction. However, it is still used by many copyright holders. The phrase "All rights reserved" is often used in conjunction with a copyright notice. Today it has no legal significance. In copyright law, by default all rights are reserved; nothing may be done with a copyrighted work without explicit permission.

Origins
The phrase originated as a result of the Buenos Aires Convention of 1910. Article 3 of the Convention granted copyright in all signatory countries to a work registered in any signatory country, as long as a statement "that indicates the reservation of the property right" (emphasis added) appeared in the work. The phrase "all rights reserved" was not specified in the text, but met this requirement. Today all members of the Buenos Aires Copyright Convention are also member of the Berne Convention. The Berne Convention states that unless explicitly stated otherwise, all rights are reserved. Further, a copyright law may not require any formalities as a condition for copyright protection.

Other copyright treaties did not require this formality. For example, the Universal Copyright Convention (UCC), adopted in 1952, adopted the © symbol as an indicator of protection. (The symbol was introduced in the US by a 1954 amendment to the Copyright Act of 1909.) The Berne Convention rejected formalities altogether in Article 4 of the 1908 revision, so authors seeking to protect their works in countries that had signed on to the Berne Convention were also not required to use the "all rights reserved" formulation. However, because not all Buenos Aires signatories were members of Berne or the UCC, and in particular the United States did not join UCC until 1955, a publisher in a Buenos Aires signatory seeking to protect a work in the greatest number of countries between 1910 and 1952 would have used both the phrase "all rights reserved" and the copyright symbol.

Obsolescence
The requirement to add the "all rights reserved" notice became essentially obsolete on August 23, 2000, when Nicaragua became the final member of the Buenos Aires Convention to also become a signatory to the Berne Convention. As of that date, every country that was a member of the Buenos Aires Convention (which is the only copyright treaty requiring this notice to be used) was also a member of Berne, which requires protection be granted without any formality of notice of copyright.

Some rights reserved
Even though the phrase "all rights reserved" has no legal significance today, it is still used with almost all copyright notices. The only practical function is that of a warning: the author realizes he has a copyright and he really means to keep it.

The Creative Commons initiative uses a slightly different phrase, some rights reserved, to indicate its more liberal approach to copyright. The phrase then is used as a link text to the applicable Creative Commons license. Their "dedication to the public domain" statement uses the phrase "No rights reserved".

All rights reversed
Occasionally people use the phrase "All rights reversed" instead of "reserved". Usually this is done as a joke. When it is meant seriously, it indicates the author does want others to use his copyrighted work. The phrase by itself is not enough; a license must explicitly state the rights that are granted.

The phrase continues to hold popular currency and serves as a handy convention widely used by artists, writers, and content creators to prevent ambiguity and clearly spell out the warning that their content cannot be copied freely.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Honathaner, Eve Light. The Complete Film Production Handbook, Brian Dzyak (2010). What I Really Want to Do on Set in Hollywood: A Guide to Real Jobs in the Film Industry, Andrew Dawson; Sean Holmes (2 August 2012). Working in the Global Film and Television Industries: Creativity, Systems, Space, and Patronage, Clearance Guidelines for Producers, Mast, and Gerald. "Film Study and the Copyright Law", from Cinema Journal, Arnoud Engelfriet, “The phrase "All rights reserved", "International Copyright". U.S. Copyright Office, “Copyright Registrations and Formalities". World Intellectual Property Organization, Iusmentis, Work Press, http://www.wga.org/, https://www.copyright.gov/,

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.

Tuesday, February 27, 2018

COPYRIGHT / PUBLIC DOMAIN / FAIR USE… (In the Entertainment industry. What does public domain / fair use / copyright mean?)


Copyright All Rights Reserved / Photo Credit: WPD Legal



COPYRIGHT / PUBLIC DOMAIN / FAIR USE… (In the Entertainment industry. What does public domain / fair use / copyright mean?)


Public Domain / Fair Use / Copyright

Public domain
As explained by film production manager Eve Light Honthaner, prior to 1989 publicity photos taken to promote a film actor or other celebrity were not usually copyrighted, and were intended to remain free for publications to use wherever possible:

Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary.

Honathaner distinguishes "Publicity Photos (star headshots)" from "Production Stills (photos taken on the set of the film or TV show during the shooting)", noting that production stills "must be cleared with the studio". Creative Clearance offers the same text as Honathaner, but adds that newer publicity stills may contain a copyright.

In 2007, media lawyer Nancy Wolff, wrote with respect to the "photo archive of entertainment industry publicity pictures, historic still images widely distributed by the studios to advertise and promote their then new releases":

It has been assumed that these images are most likely in the public domain or owned by studios that freely distributed the images without any expectation of compensation. Archives will lend these images for a fee to publishers and producers of documentaries for 'editorial' uses, in keeping with the original intent to publicize the movie or promote the actor. Seeing these images in print years later, some photographers, or their heirs, attempt to assert rights that most believed to be extinguished or abandoned.

As a result, she indicates:

There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them.... Without knowing where the photos came from, or what long lost parent may appear and claim the 'orphaned work,' licensing the work becomes risky business. For publishers, museums, and other archives that are risk-averse, this leads to a large body of works that will never be published.

Film historian Gerald Mast explains how the new 1989 copyright revisions only protected publicity works that complied with all earlier requirements in addition to filing a copyright registration within 5 years of first publication:

According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."

In the 2011 Eighth Circuit case Warner Bros. Entertainment v. X One X Productions, the court recognized that a selection of publicity stills from two 1939 films were in the public domain because they had not been published with the required notice, or because their copyrights had not been renewed. Although Warner Bros. argued otherwise, the court found that these stills did not share the films' valid copyrights, and that the images' dissemination constituted general publication without notice. Other arguments related to derivative uses of the images were upheld, and an injunction against X One X was granted because certain "products combining extracts from the public domain materials in a new arrangement infringe the copyright in the corresponding film". The decision quoted from Nimmer on Copyright, which explains that, while films were generally registered for copyright protection, "much less care was typically exercised during production and in the publicity office" with photographs taken of the actors on set being "sent off to newspapers before the film’s release, in order to generate a buzz about its opening."

Fair use
Kristin Thompson, reporting as the chair of an ad hoc committee on fair use organized by the Society for Cinema and Media Studies, contends "that it is not necessary for authors to request permission to reproduce frame enlargements . . . and some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."

Thompson also notes that even if such images are not already public domain, they could be considered "fair use" under provisions of US law:

Most frame enlargements are reproduced in books that clearly fall into the first provision's categories of "teaching," "criticism," "scholarship," or "research," and hence there seems little doubt that such illustrations would qualify as fair use by this criterion. Since most university presses are nonprofit institutions, illustrations in their books and journals would be more likely to fall into the fair-use category than would publications by more commercial presses.

In addition, Thompson refers to the argument that the burden of proof of copyright for such publicity images would fall on the studios producing them:

One important argument has been made concerning the publication of publicity photographs. If such a photograph has been circulated for publication at some point and reproduced without a copyright notice accompanying it, it should then fall within the public domain. Throughout the history of the cinema, many publicity photos have appeared in newspapers and magazines without such notices. If a scholar or educator were to publish a publicity photo, the burden of proof would then fall on the studio or distributor to prove that the still had never been published without the copyright notice.

United States Copyright Office

The United States Copyright Office, a part of the Library of Congress, is the official U.S. government body that maintains records of copyright registration in the United States, including a Copyright Catalog. It is used by copyright title searchers who are attempting to clear a chain of title for copyrighted works.

The Copyright Office is housed on the fourth floor of the James Madison Memorial Building of the Library of Congress, at 101 Independence Avenue, SE, in Washington, DC.

History
The United States Constitution gives Congress the power to enact laws establishing a system of copyright in the United States, and the Copyright Act of 1790, the first federal copyright law, was enacted in May 1790 (with the first work being registered within two weeks). Originally, claims were recorded by Clerks of U.S. district courts. In 1870, copyright functions were centralized in the Library of Congress under the direction of the then Librarian of Congress Ainsworth Rand Spofford. The Copyright Office became a separate department of the Library of Congress in 1897, and Thorvald Solberg was appointed the first Register of Copyrights.

Administering the copyright law
The Office examines all applications and deposits presented for registration of original and renewal copyright claims to determine their acceptability for registration under the provisions of the copyright law. The Office also records documents related to copyright ownership.

The Copyright Office records the bibliographic descriptions and the copyright facts of all works registered. The archives maintained by the Copyright Office are an important record of America’s cultural and historical heritage. Containing nearly 45 million individual cards, the Copyright Card Catalog housed in the James Madison Memorial Building comprises an index to copyright registrations in the United States from 1870 through 1977. Records after 1977 are maintained through an online database of more than 16 million entries.

As a service unit of the Library of Congress, the Copyright Office is part of the legislative branch of government. The Office provides copyright policy advice to Congress. At the request of Congress, the Copyright Office advises and assists the Congress in the development of national and international copyright policy; drafts legislation; and prepares technical studies on copyright-related matters.

The Compendium of U.S. Copyright Office Practices manual documents the Copyright Office's practices in its administration of copyright law.

A new fee schedule for certain Office services is effective as of May 1, 2014. The Copyright office’s fees were last updated in 2009. Fees increased for certain registration and recordation and associated services, as well as certain search and review services for FOIA requests Freedom of Information Act (United States). In May 2014, the Office also reduced some renewal application and addendum fees in an effort to “encourage the filing of more renewal claims” and thereby help improve public records about copyright ownership.

Providing information services to the public
The Copyright Office provides public information and reference services concerning copyrights and recorded documents. The public can keep up on developments in the Copyright Office by subscribing to U.S. Copyright Office NewsNet, a free electronic mailing list that issues periodic email messages to alert subscribers to hearings, deadlines for comments, new and proposed regulations, new publications, and other copyright-related subjects of interest. Subscribe on the Copyright Office website.

Library of Congress
In 1870, Congress passed a law that centralized the copyright system in the Library of Congress. This law required all owners of copyrights of publicly distributed works to deposit in the Library two copies of every such work registered in the United States, whether it is a book, pamphlet, map, print, or piece of music. Supplying the information needs of the Congress, the Library of Congress has become the world’s largest library and the de facto national library of the United States. This repository of more than 162 million books, photographs, maps, films, documents, sound recordings, computer programs, and other items has grown largely through the operations of the copyright system, which brings deposits of every copyrighted work into the Library.

Duties
The Copyright Office consults with interested copyright owners, industry and library representatives, bar associations, and other interested parties on issues related to the copyright law.

The Copyright Office promotes improved copyright protection for U.S. creative works abroad through its International Copyright Institute. Created within the Copyright Office by Congress in 1988, the International Copyright Institute provides training for high-level officials from developing and newly industrialized countries and encourages development of effective intellectual property laws and enforcement overseas.

The website has information about new copyright relevant legislation and a list of designated agents under the Digital Millennium Copyright Act (DMCA) and the Online Copyright Infringement Liability Limitation Act (OCILLA) and information about Copyright Arbitration Royalty Panel (CARP) system of ad hoc copyright royalty arbitrators (now being phased out and replaced by the Copyright Royalty Board).

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Honathaner, Eve Light. The Complete Film Production Handbook,  Brian Dzyak (2010). What I Really Want to Do on Set in Hollywood: A Guide to Real Jobs in the Film Industry, Andrew Dawson; Sean Holmes (2 August 2012). Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage, Clearance Guidelines for Producers, Mast, Gerald. "Film Study and the Copyright Law", from Cinema Journal, http://www.wga.org/, https://www.copyright.gov/,

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.


Monday, February 26, 2018

UNIT STILL PHOTOGRAPHER… (In the Entertainment industry. What does Unit still photographer do?)



Unit Still Photography equipment / Photo Credit Brazos Valley Museum of Natural History Science.tamu.edu


UNIT STILL PHOTOGRAPHER… (In the Entertainment industry. What does Unit still photographer do?)


Unit Still Photographer

A unit still photographer, or simply still photographer, is a person who creates film stills, still photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry and network television productions. Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance and background. The director and assistants review these images frequently for continuity and matching of all stage aspects.

Cornel Lucas, a pioneer of film portraiture in the 1940s and 1950s, was the first still photographer to be awarded a BAFTA, in 1998, for work with the British Film Industry.

Uses in the industry
Using individual frames from film or recorded video material is not practical due to their relatively low quality. Much higher resolution images are therefore used. Typically, the end uses of these still photos include the film's theatrical release poster, DVD box artwork, the official web site photos, billboards, bus stop adverts, point-of-purchase displays, key art image sets released to the press and media, and other printed and online collateral materials.

Unit still photographers are also responsible for creating "photo props" and "set dressing images", the photos and images used on-camera to create various illusions such as forensic photos, crime drama booking photos, character driver's licenses, passport and I.D. photos, on-screen family photos, surveillance photos, computer screen displays, and any other image a producer may require in the course of a production.

In North America in particular, and some international locations, a unit still photographer must be a member of IATSE Local 600 International Cinematographers Guild in order to perform services on union productions and union studio lots and locations. The most prestigious of these unit still photographers are members of The Society of Motion Picture Still Photographers, an organization which promotes the work of those within the industry.

While often perceived as a "glamour" job for photographers, the reality is often long hours (70-plus hours per week) on remote locations under difficult and often extreme conditions. The unit still photographer often coordinates with the unit publicist, but physically works in close proximity to the film's camera crew, director and actors, and also in close proximity to the film's boom microphone operator. Unit still photographers go to great lengths to muffle the sound of their camera's motor drive and shutter to avoid distracting the actors, and to remain inaudible on the film's recorded dialogue soundtrack.

Typically, this is accomplished using a sound blimp, which is a sound-absorbing, foam-filled metal case in which the still camera body is fitted with a proprietary remote operation cable. This allows the camera to be activated and operated from a two-button (activation, focus and shutter release) exterior control. Limitations exist once the blimp is closed around the camera, as one can no longer access the cameras controls (f-number, shutter speed, ASA/ISO settings) or menu displays directly. The LCD display for reviewing the images will also be obscured in the closed position. This requires the photographer to make control selections in advance, and use with those settings until the take in progress has been "cut", making adjustments only between takes or set-ups. Unit still photographers in this field typically produce over 2000 marketable images per week for their major-studio clients. Still photography involves the use of alignment, positioning, and other techniques to capture the "money shot". Still-life photography is the depiction of inanimate subject matter, most typically a small grouping of objects that are either human-made or natural.

Since 2010, high-end DSLR cameras, which can be remotely controlled with mobile apps on smartphones and tablet computers, using the built-in 2-way Wi-Fi radio-controlled interface between the tablets and the DSLR camera, and offer internal active noise reduction technologies, have increased the ability of the unit still photographer to work quietly on the set.

Film Still
A film still (sometimes called a publicity still or a production still) is a photograph taken on or off the set of a movie or television program during production. These photographs are also taken in formal studio settings and venues of opportunity such as film stars' homes, film debut events, and commercial settings. The photos were taken by studio photographers for promotional purposes. Such stills consisted of posed portraits, used for public display or free fan handouts, which are sometimes autographed. They can also consist of posed or candid images taken on the set during production, and may include stars, crew members or directors at work.

The main purpose of such publicity stills is to help studios advertise and promote their new films and stars. Studios therefore send those photos along with press kits and free passes to as many movie-related publications as possible so as to gain free publicity. Such photos were then used by newspapers and magazines, for example, to write stories about the stars or the films themselves. Hence, the studio gains free publicity for its films, while the publication gains free stories for its readers.

Types
Shots can be taken as part of the filming or separately posed. During the course of filming, the still photographer takes shots of on-stage scenes. These photographs are called production stills. Another type of still generated during filming is the off-stage shot. The photographer takes these while actors are between takes, still in costume. Separately posed stills include a wide variety of shots. Many of these have self-explanatory designations: seasonal gag shots, leg art, fashion stills, commercial tie-ups, poster art, clinch shots (special posing for print advertising) candid’s (done normally with one source lighting—think snapshot) and in-costume studies (most economically done off-stage in a sound stage corner or more formally in a studio setting). By far the most popular of these many kinds of film stills are those portraying glamour, menace or gag interpretations.

Other separately posed images include “set” stills, make-up stills and wardrobe stills. These stills are used for matching from scene to scene, or for recreating a scene later for a re-take. All details of the set, the costume and the cast make-up have to be exact, and these stills serve as a useful resource to get that accomplished. Background “plates” or “stereos” (not a reference to stereoscopic 3D, but to large-format stereopticon 2D slide projection), another type of still, enable the studio to create location scenes without leaving the premises, thus reducing the ultimate cost of production.

Still Photographers
Movie still photography is considered a separate branch of movie making, that of marketing: "a still photographer usually works on set but is not directly involved in the making of a film. His role is to publicize, through his pictures, film and actors on magazines, newspapers and other media." Film producer and cinematographer Brian Dzyak explains that the group of people who work on a film are referred to as the "company" or "unit." Among the professionals who are assigned to the unit, one is a "unit still photographer," whose job is to take still photos that the studios will later use for marketing. They may take photos during rehearsals or while standing next to the cameraman during filming of takes. For glamour publicity stills, given out to the public and press to promote a particular star, "special shoots" are made in separate studios, containing controlled lighting, backgrounds, clothing and furnishings.

Although the still photographer shares a number of skills and functions with the cinematographer, their work is essentially very different. The cinematographer is concerned with filming short scenes that will later be edited into an entire movie. The still photographer is primarily concerned with capturing dramatic photos that will draw attention when used on posters, DVD covers, and advertising. Studios would therefore assign a still photographer to a production, and in some cases as many as five still photographers worked on the same film.

Purposes
The major and minor film studios have always used still photos of stars, typically in a posed portrait, to send to the media to create "a buzz" for both their stars and any new films they were appearing in. Studios "sent out tens of thousands of scene stills and portraits to newspapers, magazines, and fans each year. Such photographs were rarely marked with the photographer's name or with a credit line."

Accordingly, the studio publicity departments used the stills "to sell a product," namely, a "particular film or an individual actor or actress." The distinction is relevant: "While the scene stills and on-the-set candid shots would be used to sell the movie, the portraits could be used to introduce a would-be star to an international audience. . . . The portrait photographer's function was to create and sell the image created by a publicity department around the life and look of a real person." The photos portrayed a star "without a role to hide behind. . . [and the photographer] had to recognize the image which would serve as the essence of a lengthy publicity campaign, capturing it in a fraction of a second." The glamour close-up would become "Hollywood's principal contribution to still portraiture."

Beyond basic publicity purposes, film stills were given to the actors themselves to send, signed or unsigned, to their fans and fan clubs. At various special events, stars might bring along a stack of these studio photos to sign in the presence of admirers, much like book signings by authors today.

In addition, directors and casting directors involved with placing appropriate actors in the film roles still rely on film stills to help them recall the detailed looks of actors. This is similar to the way magazine or TV advertisers rely on stills taken of professional models. Typically, a film still included a separate profile sheet describing the physical details of the actor along with a brief bio. The directors would then collect their best choices and schedule interviews and auditions.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Honathaner, Eve Light. The Complete Film Production Handbook, Brian Dzyak (2010). What I Really Want to Do on Set in Hollywood: A Guide to Real Jobs in the Film Industry, Larry Goldman (1983). The professional photographer: developing a successful career, Finola Kerrigan (2009). Film Marketing, "Still Photography in the Motion Picture Industry" by Ned Scott, Andrew Dawson; Sean Holmes (2 August 2012). Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage, IATSE Local 600 International Cinematographers Guild, The Society of Motion Picture Still Photographers

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.


Saturday, February 24, 2018

ILLUSTRATOR IN FILM AND TV… (In the Entertainment industry. What does an Illustrator in film and TV do?)


Photo Credit: Adobe Support


ILLUSTRATOR IN FILM AND TV… (In the Entertainment industry. What does an Illustrator in film and TV do?)


What does an Illustrator in film and TV do?

Being a film and TV illustrator is a career in itself and has many levels of opportunity and duties. Story boarding, concept and development artwork, location and set design. Working with the production designer, art directors, set decorators, construction and scenic departments. Bringing to life interior and exterior sets, greens, location, wardrobe and numerous other departments. It is and can be a great stepping stone to becoming a set designer, art director and production designer.

An illustrator is an artist who creates two-dimensional images for various companies and industries, such as film, TV, commercials’, documentaries, development, pre-production, technical designs, pre-sales and advertising. The illustrator will use various techniques to create effects, like the simplicity of black and white, the richness of color, or the use of light and shadows.

An illustrator will usually begin by sketching out a draft of the images they want to make. Once they have an idea of the quantity and the general outline of the whole project, they begin working on drawing each illustration. Illustrators can work from pencil and paper or digitally on the computer. They can choose the medium that works best for their style and their client’s needs. Every illustrator has excellent drawing skills so that they can produce all kinds of images and designs.

It is important for the illustrator to listen and understand the director and production designer’s needs, and be able to exchange ideas and rework multiple concepts until both parties come to a final interpretation and illustration. Natural talent, education and continuous practice is necessary in order to become successful as an illustrator.

The position of “Illustrator” is an evolving one which didn’t exist as such just a few years ago. In the past, a designer could communicate with a director, producer, or studio personnel via plans and a white model. A set designer or production designer might do a set sketch as well. But films have changed dramatically in recent years as budgets and concepts have grown. For big action and fantasy films, locations and stage sets need to be extended or altered digitally in post-production. And of course some sets are entirely digital.

The illustrator has become a key member of the production team. Often we are asked to illustrate built sets simply to give the director and studio a cool, dramatic snapshot of the finished product. Often we are asked to illustrate set extensions, additions or other changes planned for locations and/or stage sets. And of course the illustrator creates sketches and renderings for digital sets which are added to green-screen shots in post-production. Another factor which has nothing to do with filmmaking is that all high-concept films end up sparking video games, board games, and books. If you look at any “The Making of...” books they are packed with production art and illustrations. Video game companies use production art in creating their products because they’re working independently of but at the same time as the production crew, so cannot benefit from set photos, etc. There is one more important facet of the illustrator’s job. He or she may be the person on a job longer than anyone else in the art department, including the production designer. The big change is the illustrator’s involvement with a film during the period generally called “postproduction.”

Typically, there has been a clear separation between production and post... the only people spanning both periods being the director, producers, and VFX people. As more and more of a film is created after camera wrap, the designer attempts to inform the creation of visuals in post as thoroughly as possible. It’s the illustrator who will be asked to create renderings of sets that no carpenter will build and no painter will paint. And whenever possible the illustrator will be given frames from scenes which have been shot, to lay in set extensions and/or eliminate objects which don’t belong. All of this goes directly to the VFX vendors to be used as guides for their work. And a film can change as editors begin to assemble footage and assess the work. When those changes involve scenic elements and other visual work, the illustrator is the one who might be kept on board to create artwork that is of a piece with the intentions of the designer.

The illustrators’ tools
Aside from the obvious need to be able to visualize sets or scenes based on reference materials and/or rough plans... an illustrator can work effectively even if he or she can’t do beautiful hand drawings or sketches. With hand sketches and a great deal to do with Photoshop and/or 3D modeling. Hand sketches are often used simply as a conversational tool between the illustrator and production designer. 

Adobe illustrator & cad tools
Adobe Illustrator is a great tool for the film illustrator, particularly if you’re involved early enough in the design process that you are working out rough plans and elevations along with the sketches. With a really useful plug-in called CAD tools, Illustrator becomes a great CAD drawing and drafting tool.
CAD tools (www.hotdoor.com) is a whole CAD drafting package that allows you to do just about any kind of drawing... plans, elevations, or isometrics in scale. You have all the advantages of working in Illustrator, with CAD capabilities to boot. And there are add-on libraries of standard textures and symbols.

ADOBE PHOTOSHOP (ADOBE CS5)
Photoshop is the powerhouse of illustration. I use it at just about every stage of illustration no matter which direction I go... hand drawing, digital sketch or 3D rendering. I like doing traditional hand illustration whenever the job calls for it. I’ve developed a general method for turning hand illustration into a color rendering by doing a very finished pencil rendering, which I then scan into Photoshop. Sometimes I’ll draw an empty set in one sketch, and do the furniture and dressing in a second overlay sketch. Either way, I then paint the sketch in Photoshop. The advantages are many. If revisions are needed you don’t have to redraw the whole sketch... just redraw the revised areas, scan and add them to the Photoshop document, and paint them in to match the existing.

Fully digital sketches are renderings which are created totally on the computer, usually in Photoshop, and which rely on a combination of placed and painted images. There are advantages to this method of creating illustrations. For instance location photos can be used as a base for added imagery, lighting and texture to approximate the final scene. There are internet sources for a lot of imagery that can be used in digital illustration.
And finally even if you used 3D modeling to create set illustrations, those model renders are generally not “finished”. They often benefit from Photoshop overpainting, and added imagery to bring them to life.

Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Camerapedia, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Target Job, Greg Hill,

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.



Friday, February 23, 2018

PROGRAMME RESEARCHERS… (In the Entertainment industry. What does a Programme Researchers do?)


Photo Credit: Clip-art Collection

PROGRAMME RESEARCHERS… (In the Entertainment industry. What does a Programme Researchers do?)


What does a Programme Researchers do?

Programme researchers organize, plan and coordinate the production of television and radio programs, and undertake relevant background research.

Programme researchers are vital cogs in the media production engine. These resourceful people conduct research, fact-check information, and present their findings to producers, scriptwriters and presenters in a clear and concise manner to make sure radio shows, TV shows and films are as interesting, entertaining and well-informed as possible.

These dynamic research professionals, however, don’t just bury their heads in books, dusty archives and internet resources, looking for facts, figures, footage and other fascinating titbits of information – they also get heavily involved in the planning side of production. Using their creative flair and talent for research, they work with producers and scriptwriters to generate fresh and interesting ideas for new shows and existing productions.

Programme researchers don’t only conduct research to enhance the content of the production they are working on. They also conduct functional research into possible shooting locations, equipment hire and freelance staff, selecting the best options—based on price and suitability—and then making the necessary arrangements to get everything organized.

When sourcing photographs, music and video footage from third parties, programme researchers must obtain permission for the use of copyrighted material. They may also be required to carry out routine administrative duties from time to time.

Typical responsibilities include: 
  • Generating programme ideas…
  • Gathering, fact-checking and presenting relevant information, facts and figures…
  • Organizing meetings and interviews with appropriate people…
  • Writing and editing briefing notes and scripts…
  • Conducting interviews…
  • Briefing programme presenters…
  • Booking production equipment and staff…
  • Preparing cost accounts…
  • Enthusiasm…
  • Determination…
  • Perseverance…
  • Excellent verbal and written skills…
  • Adaptability…
  • Able to work well under pressure…
  • Organisational skills…
  • Administrative skills…
  • IT skills… 


Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Camerapedia, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Target Job,

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.


Tuesday, February 20, 2018

ASSISTANT EDITOR… (In the Entertainment industry. What does an assistant editor do?)



Film Editor Equipment / Photo Credit: Chris Frith Feature3

ASSISTANT EDITOR… (In the Entertainment industry. What does an assistant editor do?)


What does an Assistant Editor do?

Assistant Editors take charge of the day-to-day running edit suite, leaving the Editor free to concentrate on the work of editing the film. The work of an assistant film editor centers on creating a productive environment for the editor, ensuring a fluid filming and editing process. Film editors learn required skills in editing techniques and digital editing software through training and degree programs found at colleges and universities. Although there isn't a standard educational requirement for assistant film editors, most film editors in general need a bachelor's degree in a field related to film or broadcasting with coursework in camera operation and video-editing software.

The first task is to communicate with other relevant departments (production, camera, sound, etc.) to understand and analyses the work flow, and to pass this information on to the Editor.

During the shoot, while the Editor starts to work on a rough assembly of selected rushes, Assistant Editors check the camera sheets when the rushes arrive, noting any technical problems.

Assistant Editors often work in a different room to the Editor and, on low budget films, may be required to sync rushes early in the morning or late at night when the editing machine is not being used by the Editor. Consequently, the traditional apprenticeship model for Assistant Editors has changed, as less time is now spent watching and learning from the Editor. Assistant Editors must therefore be more proactive in monitoring how the edit is progressing.

Depending on the workload, and providing the Editor trusts the Assistant, whole segments of the assembly edit may be given over to Assistant Editors, who can use this opportunity to demonstrate their flair and ability.

When picture lock is achieved, one of the Assistant Editors' last tasks is to compile an Edit Decision List, which provides a record of all the edit points.

Assistant Editors are usually recommended to Producers by Editors, who prefer to work with the same Assistant. Assistant Editors are normally employed on a freelance basis, from the first day of principal photography and see the film through to picture lock (when the Director and/or Executive Producer give final approval of the picture edit).

They work long hours and are the first to arrive in the morning, setting the cutting room up for the day, and usually the last to leave in the evenings when the cutting room has been tidied and prepared for the next day. Jobs last between six months and eight months on average.

Most Assistant Editors start their careers by working as Runners on feature films or at editing facilities houses and progress to becoming Trainees, 2nd Assistants and eventually Assistant Editors.

It is still possible to work as a Trainee, but 2nd Assistants are now only employed on very big budget films. Trainees with at least two years' experience are likely to progress by working as Assistants in television or on low budget films for a considerable period of time before becoming First Assistants on feature films.

Some big budget productions take on Trainees and Second Assistants, and it is important to keep up to date with films in preproduction by reading the trade press. Experienced Assistants may also work as Editors on short films which enables them to showcase their talents.

Some Assistants decide not to become Editors, choosing to continue working as Assistants on bigger budget films, which can be equally demanding and rewarding.

Assistant Film Editor Job Duties
The role of an assistant editor is to allow the editor to work uninterrupted. An assistant typically receives and interprets paperwork from the staff and crew, relaying this information to the editor. Assistant editors may coordinate with the sound team to plan for sound effects and other music used in the film, and import unedited footage into the editing program to examine a scene for incomplete footage. Each scene is assembled in a computer system according to the editor's preference.

An assistant film editor may critique a scene for the editor, if the two have developed a relationship. They record notes during screening and aid in the integration of visual effects. An assistant film editor can also be asked to arrange the work-space, fix a technical issue or organize extra footage. 
  • Running and maintaining editing systems…
  • Taking responsibility for the smooth running of the cutting room on feature films…
  • Supporting the whole of the post production process on feature films and working closely with film labs, and with the camera and sound departments…
  • Have a good aptitude for technology…
  • Have a thorough understanding the film post production process…
  • Be familiar with computer editing equipment and software…
  • Be able to react quickly and precisely…
  • Have excellent communication and interpersonal skills…
  • Be able to work for long hours on repetitive tasks…
  • Have precise attention to detail…
  • Be able to take direction…
  • Have good organizational skills…
  • Understand the requirements of the relevant health and safety laws and procedures… 

Be proficient with the following: 
  • Adrenaline Software…
  • Avid Software…
  • Final Cut Pro…
  • Red Camera… 

An assistant film editor maintains a balanced and structured environment in the editing room. The assistant editor is responsible for operating the editing technology as well as interacting with various people on the filmmaking staff, particularly the camera, film lab and sound department. An assistant is commonly one of the first to arrive on set and the last to leave, organizing the cutting room for that day and arranging it for the next. Depending on the scale of the production, an assistant film editor may supervise a team of assistants.

Though work on a feature film or television program can continue for longer than a year, eventually an assistant editor must search for a new job. To maintain a steady income, assistant editors often explore new opportunities while still working on a job.


Sources, References & Credits: Google, Wikipedia, Wikihow, 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, Camerapedia, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., "PH22.36-1954, American Standard, Dimensions for 35 mm Motion-Picture Positive Raw Stock",  American Cinematographer, American Widescreen Museum, Fujifilm Motion Picture Films, Kodak: Cinematography, Paul C. Spehr, Get In Media,

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.



WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry.)

Film Billing Credits / Photo Credit: Studio Binder – Bruce Bisbey WHY DO ACTORS TAKE UNCREDITED ROLES? (In the Entertainment industry....