ORCHESTRA CONTRACTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Orchestra Contractor)

Chamber Orchestra / Photo Credit: Hollywood Chamber Orchestra

ORCHESTRA CONTRACTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Orchestra Contractor)

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

Orchestra Contractor in Motion Picture Production

Composers of film and stage music need musicians to perform their pieces, and this is when the orchestra contractor gets to shine. Orchestra contractors, often referred to as “fixers” in Europe and the U.K., are responsible for making sure that composers have the musicians they need when they need them. Often credited in films and albums instead of individual musicians, the orchestra contractor is an important conduit between the creative world of artists and the practical world of the entertainment business.

Duties

Because films, albums, and stage productions most often do not come with their own ready-made orchestras, it is the responsibility of the orchestra contractor to see that musicians are found, hired, and brought into the studio or scoring stage to perform. Much of their work relies on their extensive contacts and voluminous lists of every reputable musician playing common and not-so-common instruments. Selection of the most talented, congenial, and appropriately skilled musicians is the main duty of the orchestra contractor, who is often faced with very specific requests by composers and directors. A conductor may need hundreds of classical musicians from around the world for a film score, or simply a handful of ukulele players from Atlanta for a commercial jingle. In each case, the orchestra contractor will be able to locate the musician, facilitate the contracts, and ensure that the composer or production company adheres to union rules throughout the recording process.

Skills & Education

Orchestra contractors are often educated in music and business both; this can include an education at a university or conservatory, or experience as a performer. Many orchestra contractors are or were musicians themselves, which can be extremely useful when compiling contact lists of musicians they may know or have worked with in the past. They also need to be familiar with films and TV and able to meet the unique needs of this type of performance. Because intimate knowledge of the music industry is required, it is extremely beneficial to the orchestra contractor to be able to tell a good musician from a bad one, a high-maintenance performer from an easygoing one, and they must know and tend to all the contract obligations of the American Federation of Musicians.

What to Expect

Orchestra contractors are needed everywhere there is a need for orchestras, whether films, television, commercials, albums, or the stage. The best orchestra contractors usually take years building contacts and learning their trade. Networking is vital to success, and a musical background is certainly a plus. Understanding the nuances of professional music and the quirks of professional musicians can help the right person excel as an orchestra contractor, though usually only after years of effort and persistence.

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,  

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.

Chamber Orchestra / Photo Credit: Hollywood Chamber Orchestra

NEW MEDIA MANAGER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. New Media Manager)

Social Media / Photo Credit: Make A Website

NEW MEDIA MANAGER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. New Media Manager)

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

New Media Manager in Motion Picture Production

Manage social media marketing campaigns and day-to-day activities including: Develop relevant content topics to reach the company's target customers. Create, curate, and manage all published content (images, video and written). Monitor, listen and respond to users in a “Social” way while cultivating leads and sales.

Typically, a social media manager might create and maintain new marketing campaigns, brand promotions or product lines for their company on different sites, monitor progress using web analytic tools, and answer directly to social media inquiries, all while using the company's voice and guidelines.

For the new media manager, multitasking is a way of life. Entertainment companies are eager to find the most innovative and profitable ways to turn a buck from the new media model. To do this, the industry relies on creative internet marketing gurus with the ability to create social networks around their brands.

Duties

New media managers are responsible for the development and implementation of all digital marketing initiatives: mobile advertising, social networking, and all other online campaigns. These marketing experts start by writing a detailed plan that illustrates the deployment of internet and mobile assets in support of an artist or product, then collaborates with press, sales, and internal advertising departments to identify promotional partnership opportunities. The manager supervises the placement of releases and works with producers to create content, including interactive fan media like a Facebook page or web forum. He or she will oversee the coordinators tasked with maintaining branded websites and generate regular reports concerning the campaign’s effectiveness. A primary goal of the new media manager is to find innovative methods by which the artist or product can be marketed via emerging technology, and coordinate timely cross-promotional activities.

Skills & Education

This position requires extensive experience, as well as a college degree in marketing, entertainment business, mass communications, or a related field. A new media manager must be knowledgeable about current and emerging web and mobile technology, and have solid skills in web development and digital content creation tools. Courses in advertising, creative writing, and graphic design are also helpful. Your ability to write and proofread copy and produce art assets will make you a more valuable commodity. Constant research must be dedicated to current marketing strategies and innovative media campaigns using the newest applications and devices. Strong written and verbal communication skills are vital, as is the ability to quickly identify and shift priorities to keep your campaigns on the cutting edge.

What to Expect

At a large film studio or record label, this job is a massive undertaking, as you will be responsible for planning and supervising numerous marketing campaigns across several platforms simultaneously. Experience with new media marketing and promotions at a small entertainment company is good practice, but if you insist on aiming high out of the gate, then you should plan to work your way up from the assistant level. A solid educational foundation is necessary, but just as important is hands-on knowledge gained within the entertainment business while working on active campaigns. Take the time to do your homework, because a failed campaign will reflect negatively on you and hurt your future job prospects. There is little room for error in entertainment marketing, where the budgets are massive and consequences career-ending. At least five years of previous work in this field is required for managers, but opportunities are available for those making a lateral move from other industries. This person typically answers to a senior vice president and supervises several subordinates.

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,  Kruse Control,

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.

Social Media / Photo Credit: Make A Website

MARKETING DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Marketing Director)

Marketing Director Collage / Photo Credit: Juan Manuel Boza Pinterest

MARKETING DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Marketing Director)

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

Marketing Director in Motion Picture Production

The marketing strategy around an entertainment brand, whether that is a product or entire company, is ultimately the responsibility of the Marketing Director. This person creatively designs marketing campaigns that reach out to the target audience to persuade customers to make a purchase.

The Marketing and Publicity Directors’ main responsibility is to convince the public that this is a 'must-see' movie. Once Distributors have identified the target audiences and potential revenue, the marketing campaign should reach target audiences before and during film releases.  When the film opens, audiences’ interest should be at its peak. After release, the Marketing and Publicity Manager needs to increase interest in the film with more promotion and troubleshoot any problems.

Sometimes the role might involve the implementation of a campaign created by a studio and/or the filmmakers. These must be re-tailored for different territories according to cultural differences. 

Marketing and Publicity Directors must be fully aware of the Distributors' needs and requirements. As every film is different, every marketing campaign must also be unique. Big budget films involving top stars usually spend more money on marketing and publicity because they have more production costs to recoup. Smaller 'indie' films have less to spend,

Work on a film's marketing campaign may begin over a year prior to its release, but more usually the lead time is several months.

Duties

In collaboration with product managers and senior executives, the marketing director takes the lead on outlining the marketing strategy of an entertainment brand or company. He or she deals mainly in the big picture of the total campaign while overseeing one or more marketing managers and the subordinate marketing representatives that execute the strategy. The marketing director will communicate with his or her department to elaborate on the campaign concept and then assign responsibilities to managers. The director will also cooperate with the advertising and PR teams to ensure a cohesive campaign across all platforms, including online, radio, television, etc.

On a regular basis, the marketing director will request campaign reports from senior managers that detail the progress of the individual strategies. The director works with managers to identify, through statistical analysis, which particular campaigns are producing positive results and which may require alteration. It is the marketing director’s responsibility to advise his or her team, providing advice and guidance to make their initiatives profitable. The director then presents the information gathered from these reports to the senior executives within the company, tracking the overall value of the marketing campaigns.

Skills & Education

This career requires at least a bachelor’s degree in marketing, advertising, communications, or a related field. A master’s degree is preferred. Those who plan to focus their careers in an area of the entertainment industry will benefit from a degree in entertainment business. The marketing director should be knowledgeable about internet marketing platforms, as well as traditional media like radio, television, and print. He or she must be an effective communicator that is capable of conceiving of innovative strategies and explaining those initiatives to subordinates. He or she must be capable of drawing quantitative conclusions from statistical data, building spreadsheets, and producing correlating reports.

What to Expect

To thrive as a marketing director, one must have a finger on the pulse of the populous. This person must understand demographics and how to reach a target market through proven marketing channels. This requires constant study of new marketing trends and platforms, as the industry is in a constant state of flux. Further, the marketing director must be an expert in his or her segment of the entertainment industry. Holding a senior level position within the executive branch of a company, the marketing director must have several years of experience in marketing, advertising, and public relations. Employment as a marketing representative can lead to advancement to the managerial level, but not all managers will become directors. Marketing is a competitive, stressful field that is flooded with young, ambitious professionals. However, for those who are self-starters and tenacious, a career in marketing can be highly lucrative and rewarding.

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,

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.

Marketing Director Collage / Photo Credit: Juan Manuel Boza Pinterest

LINE PRODUCER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Line Producer)

Line Producer Wearing Many Hats / Photo Credit: Film Strategy

LINE PRODUCER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Line Producer)

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

Line Producer in Motion Picture Production

Typically, a Line Producer manages the budget of a motion picture. Alternatively, or in addition, they may manage the day to day physical aspects of the film production, serving a role similar to the unit production manager. Line Producers usually do not act as part of the creative team for a picture. A line producer is a type of film producer who is the key manager during daily operations of a feature film, advertisement film, television film, or an episode of a TV program. A line producer works on one film at a time. They are responsible for human resources and handling any problems that come up during production.

According to Producers Guild of America (PGA) guidelines, the Line Producer is the individual who reports directly to the individual(s) receiving "Produced By" credit on the theatrical motion picture and is the single individual who has the primary responsibility for the logistics of the production, from pre-production through completion of production; all Department Heads report to the Line Producer.[3]

The line producer functions like a chief operations officer in running the production company. During pre-production, responsibilities include supervising the assembly of the shooting company, recruitment of key personnel and services, and production organization for how to shoot the script and transform it into a movie. The line producer plans start dates for everyone and everything, and monitors the budget in the lead up to picture. Film production generally follows a rigorous schedule. The line producer facilitates casting, location scouting, set building and decorating, offices and stages, wardrobe, props, stunts, physical and visual effects, camera, lighting, rigging, transportation, cast, crew and union relations, travel, cast and crew accommodation, contracting of legal permissions and agreements, safety and risk management, prep and shooting schedule. In short, the line producer oversees the joint planning, negotiations, implementation and accounting for production.

Expenditures on every film or television production are divided in two segments: above the line and below the line. Above the line refers to writers, producers, directors, and actors (including extras). Below the line refers to everything else: that is, crew, sets, equipment rental, insurance, and so on. In the middle of that division is the line producer—the line. He or she is hired by the executive producer(s) to oversee the production from a business standpoint. Whereas the creative control of the film or show is the director’s domain, the logistics, labor, and financial concerns rest in the hands of the line producer.

Duties

The line producer is brought on during pre-production and first must dissect the script to estimate costs based on personnel, locations, equipment, and all other requirements of the project. This cost estimate is presented to the producers to raise funds for filming. He or she will work closely with the director, production manager, and other department heads to create a budget and shooting schedule. The line producer will participate in below-the-line decisions like hiring crew and renting gear based on the budget he or she has established and that has been approved by the producers. During filming, the line producer will act as the eyes and ears of the producer to ensure the production runs on schedule and on budget. This person is a troubleshooter on set and has the authority to make decisions that will affect the schedule or budget.

To keep the production running smoothly, the line producer will implement a cost monitoring system as well as conduct a health and safety assessment and deal with any insurance concerns, including regulatory compliance. While it is the production accountant’s responsibility to handle payroll and track invoices, the line producer establishes departmental budgets for salaries, expendable materials, and equipment. Additional labor hours or materials require the approval of the line producer. At the end of a film shoot, the line producer oversees the wrap of the production and conducts a preliminary audit of costs in cooperation with the accounting department. In television the line producer may also serve a variety of functions and take on tasks similar to those of a production manager, remaining in this role through the life of the series.

Skills & Education

There’s no specific college degree that trains you to be a line producer, though an extensive knowledge of every aspect of the film and television industry is a must. If a script calls for the hero to evade his captors by hijacking a cigarette boat from a Miami marina, you need to be able to quickly estimate the associated costs. Education through a college-level film/TV production program is beneficial, as it will give you a firm foundational knowledge of production. You can build your experience through student films, independent productions, or internships with production companies. Breaking in to bigger productions is possible by working as a PA or administrative assistant in a production office. The best experience for becoming a line producer is experience as a unit production manager. Courses in accounting, finance, or business administration are helpful as the line producer is expected to have excellent skills in quickly creating cost estimates and scheduling large-scale projects.

What to Expect

The line producer is most often an industry veteran who has worked in a variety of positions, gaining a well-rounded knowledge of production. Expect to work for several years to reach this level. This is a freelance role, so there may be long periods of inactivity between gigs. You should frequent film festivals, industry seminars, and workshops for opportunities to network. Resourcefulness, diplomacy, and efficient decision-making skills are invaluable for a line producer. You must be comfortable moderating compromises between members of the crew and be able to stand behind your choices. You will be working in a highly collaborative environment, but are also a leader and at the end of the day are responsible for the cost of a project. You are entrusted with potentially massive financial investments, so attention to detail is crucial and failure can mean huge losses for the studio and producers. Expect long hours and daily fires to put out. This can be both a professionally and financially rewarding career for those with strong problem-solving and leadership skills.

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,

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.

Line Producer Wearing Many Hats / Photo Credit: Film Strategy

KEY SCENIC ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Key Scenic Artist)

Bristol Old Vic Theatre School / Photo Credit: Bristol Old Vic Theatre School

KEY SCENIC ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Key Scenic Artist)

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

Key Scenic Artist in Motion Picture Production

In film and television production, it is often cumbersome and costly to use authentic materials in set construction. Instead, wood paneling, marble countertops, or titanium alloy bulkheads are replicated and approximated with cheaper stand-ins. With help from the carpenters, scenic artists complete this illusion with the application of faux finishes and expert painting techniques. As highly specialized artists, these members of the paint department focus on disguising one material for another and tricking the camera’s lens.

The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, and stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson. In the UK, the above responsibilities would normally be those of the head painter, and the scenic artist is responsible for producing artist painted backings. In the US a key scenic is called the charge scenic.

Scenic Artists are usually briefed by the Production Designer to produce one or several scenic works for films.

These could be anything from cloud backdrops or the backdrop of a city such as New York or London, which is to be viewed out of a set window. They also paint any murals or paintings required and touch-up or finish work carried out by the painting team. They may also paint complex prop pieces.

They are responsible for scheduling their own work, buying in the necessary supplies, and translating the Production Designer's vision into reality.

Scenic Artists must ensure that their work is carried out to the agreed standards and deadlines. They assist at the load in (putting in place), and strike (taking down), of all their work.

They must follow strict health and safety guidelines, carry out their tasks in a safe work environment, and clean up and dispose of any waste in their work area.

Duties

The key scenic artist is one of several crewmembers under the supervision of the paint coordinator and must adhere to the design specifications as set forth by the production designer and art director. He or she will also supervise a crew of painters delegated to applying special paint treatments. This one-person crew may be responsible for painting set pieces, as well as backdrops, cutouts, props, or permanent structures and will receive creation instruction based on drawings and other reference materials provided by the art department. Specific to each project, the key scenic artist’s concentration is generally in the recreation of authentic surfaces, as well as ageing and breakdown. Common tasks include simulating wood, stone, brick, metal, or stained glass. He or she may also be responsible for the execution of portraits, murals, and similar pictorial assets. It will be the artist’s task to test techniques and different types of paint in order to accomplish the desired look, then submit those small-scale samples to the paint coordinator before proceeding on the final product.

According to the production schedule established by the paint coordinator, the key scenic artist will delegate assignments to his or her paint crew and oversee their work to ensure quality and adherence to the art director’s vision. This person will actively participate in painting activities, while simultaneously supervising the work of others, providing instruction and critique. On one-off productions such as a feature film, music video, or commercial, the key scenic artist’s work is wrapped at the end of pre-production. In episodic television, this person may be retained through the life of the show. In such cases, this person is rarely on set during shooting but will work for several weeks through the production’s season.

Skills & Education

A college degree in film and television production is recommended, though majors in theatrical design or fine art are applicable. Courses should include art history, traditional drawing, painting, sculpting, and still photography. Classes in basic chemistry are also beneficial, as scenic artists are required to mix numerous chemical compounds in an effort to create unique faux materials. Training in faux finishing techniques is necessary and can be obtained through apprenticeship or the study of scenic design as part of a college major. An understanding of lighting for film and television, as well the use of lens filters is helpful, because translating a convincing replica will depend greatly on how the camera perceives the surface. There are significant differences in these variables between standard film and digital video. As an artist, this person must be capable of recreating a look with great precision but should also display creativity and ingenuity in solving complicated artistic problems.

What to Expect

Depending on the scale of the production, the key scenic artist may also serve as the paint coordinator and must therefore take on the responsibilities of that position. This person is a particularly skilled member of the paint department with evolved talents and additional experience. Previous employment may include work as a lead painter or paint foreman, and a career typically begins as an entry-level painter prepping projects and assisting senior crewmembers. A typical workweek is 40 hours, spent in a paint shop or on location, and will include dirty work in the use of paint, as well as hazardous chemicals. Artists are required to provide a minimal collection of their own tools, as instructed by the paint coordinator. Employment as a scenic charge artist in theatrical production is also applicable. Key scenic artists may work as freelancers or as permanent employees at a scenic studio that caters to the film and television industry. These artists are also eligible for membership in IATSE, the union that represents professionals working in the entertainment industry.

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,

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.

Bristol Old Vic Theatre School / Photo Credit: Bristol Old Vic Theatre School

INTERACTIVE ART DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Interactive Art Director)

Interactive Art Director / Photo Credit: Isabelle Fournet - Unesco Headquarters

INTERACTIVE ART DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Interactive Art Director)

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

Interactive Art Director in Motion Picture Production

A Creative Art Director might be doing anything from building a website to drawing sketches for a video game, but an Interactive Art Director is probably going to be designing web and mobile content more than anything else, and no matter how good it looks, if it doesn't get your users where they want to go, then you shouldn't expect too much in the way of creative job placement. All Creative Art Directors have final say in the aesthetic presentation of a project, but an Interactive Art Director needs to figure out how to adjust that to the user's needs.

With an increasingly saturated online advertising market more fields in this versatile industry emerge demanding for more specialization. Art direction for online media is relatively rare as art directors normally don’t specialize in one particular media. The reason for this newly emerged role however is justified by the fact that a campaign conceptualized for a print or TV format cannot easily be translated into online environments. Time and space constraints are very different and also do technical possibilities offer more than a one-way communication of traditional media. Personalization of messages and social interaction between companies and consumers require an in depth knowledge of technological possibilities. Technology is therefore central in forming concepts online.

The ways that consumers choose to interact with media are changing and evolving at a more accelerated pace than ever before. To stay relevant and better engage with consumers, entertainment media companies employ artists and web developers who have the talent and expertise to produce new, innovative web products.

Duties

The interactive art director takes the lead role in the research, development, and launch of new web-based products and services meant to serve the marketing and promotional goals of the company. This person will supervise a staff of graphic designers, who specialize in online content creation and closely collaborate with web developers to prototype then deploy a wide range of interactive properties. Among the assets under the purview of the interactive art director are websites, mobile applications, and widgets that are developed for social networking sites. In coordination with product managers and the marketing department, this person identifies a strategy by which an online product can benefit a particular brand, such as a film, video game, or album. The art director will outline the goals of the project and then create design documentation and prototype procedures that he or she delivers to the development staff. Several iterations are necessary before a final concept is ready for production.

Responsible for establishing the overall look of the project, the interactive art director will assign art content creation tasks to the graphic design staff and communicate with web developers to ensure compatibility of design and platform. This person must publish staff schedules and account for development hours. Depending on the specific needs of the product, asset creation may include the use of programs like Photoshop and Illustrator or dictate the production of video and audio. It will be the responsibility of the art director to contract with vendors for the production of assets outside of the department’s capabilities or in such cases that additional staff is necessary. He or she will see that the finished property is deliverable on time and present the result for senior company managers. After receiving approval, the interactive art director will supervise the launch of the property.

Skills & Education

An individual holding this position should demonstrate considerable talent for traditional art, as well as a command of graphic design software. Necessary proficiency includes Adobe products and Flash programs, and knowledge of software such as Maya, 3ds Max or Zbrush is also beneficial. Therefore, a college degree in graphic art and design or fine art is recommended for work as an interactive art director. As familiarity with video production and sound design is also preferred for this role, courses in digital video production and audio engineering are encouraged. It is also helpful to study basic computer programming and the use of HTML and CSS.

What to Expect

The interactive art director is a senior-level creative leader who is capable of effectively leading a development team and clearly outlining goals for all members of the department. He or she is not only responsible for the quality production of art assets and engaging interactive platform, but also for ensuring timely delivery of work and management of numerous projects simultaneously. This person can seek employment by an entertainment company such as a major motion picture studio or record label or work for a third-party development company that caters to the entertainment industry. Those interested in pursuing a career as an interactive art director may gain applicable experience as an advertising art director or art director specializing in video game development. Employment as a graphic designer, web developer, or similar role can lead to advancement to this position.

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,

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.

Interactive Art Director / Photo Credit: Isabelle Fournet - Unesco Headquarters

FIRST ASSISTANT DIRECTOR (1ST AD) IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. First Assistant Director)

First Assistant Director / Photo Credit: Premium Beat

FIRST ASSISTANT DIRECTOR (1^ST AD) IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. First Assistant Director)

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

First Assistant Director in Motion Picture Production

The role of an assistant director on a film includes tracking daily progress against the filming production schedule, arranging logistics, preparing daily call sheets, checking cast and crew, and maintaining order on the set. They also have to take care of the health and safety of the crew. The role of an assistant to the director is often confused with assistant director but the responsibilities are entirely different. The assistant to the director manages all of the directors in development, pre-production, while on set, through post-production and is often involved in both personal management as well as creative aspects of the production process. Historically, assistant to director was a stepping stone to directing work; Alfred Hitchcock was an AD, as was James McTeigue. This transition into film directing is no longer common in feature films. It is more common now for an assistant to the director to transition to a production management or producer role than to directing.

The first assistant director is responsible to the director, and is chiefly concerned with facilitating a smooth workflow on set and serving the needs of the director. This person begins work during pre-production and is typically handpicked by the director. In some instances, the assistant director may also be assigned the responsibilities of the unit production manager.

Duties

Once under contract with the employer, the first assistant director works closely with the director and unit production manager to organize the pre-production tasks. This includes contacting and hiring crew, renting or purchasing equipment, breaking down the script, and preparing a shooting schedule. In cooperation with the UPM, the first AD must take into account the production budget, crew and cast availability, location limitations, and the time necessary to achieve each shot. The second assistant director may aid him or her, where the production requires additional directorial staff.

When production begins, the first assistant director is primarily concerned with tending to the specific needs of the director, but also has a significant number of additional duties. He or she will prepare “day out of day” schedules and call sheets for the cast and crew, and ensure the documents are distributed to all relevant talent and staff. On set, the first AD will direct background action as assigned by the director and supervise crew. Typically, this means overseeing the set production assistants tasked with wrangling extras or holding back traffic at outdoor locations. Supervision of the cast and crew on set also falls under this person’s purview. When a second AD is on set, he or she is delegated the task of wrangling cast. If the first AD has been delegated the duties of a UPM, he or she may be expected to secure contracts and releases from the talent.

Skills & Education

A formal education is not a standard requirement, but a college degree in film and television production grants invaluable experience. The first AD must be familiar with camera operation and the techniques of framing an attractive shot, sound recording, and lighting. He or she must also understand the business and logistical concerns of production. A degree will provide the necessary technical training as well as an understanding of the production process from a managerial perspective, which will help in supervising crew. Additional courses or training in acting and directing is also beneficial; the first assistant director must be capable of coaching actors through a scene with regard to emotion, blocking, and the delivery of lines.

What to Expect

Those working under the title of first assistant director can become members of the Directors Guild of America, the organization that represents directors, assistant directors, and associate directors. Membership is not required to work in the film and television industry, but is necessary to work on productions that are signatories of the DGA and operate under a collective bargaining agreement with the guild. This includes most major production companies and film/television studios. Experience as second AD is expected before you move up in the ranks to first AD. To break into the directorial staff, you should have experience in the camera department (camera operator, camera assistant), and starting out as a production assistant is recommended.

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,

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.

First Assistant Director / Photo Credit: Premium Beat

FILM SALES AGENT IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Film Sales Agent)

Film Agent Sale List / Photo Credit: Film Daily TV

FILM SALES AGENT IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Film Sales Agent)

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

Film Sales Agent in Motion Picture Production

An Agent may agree to represent a film based on its script and proposal, but usually an unknown director can only acquire an Agent when they have a finished, or almost-completed film. Once films are sold, Distributors and Agents negotiate the contracts and conditions. Once films become profitable, Film Sales Agents pay filmmakers their percentage.

In some cases, Agents are also responsible for brokering deals for filmmakers. Effective Film Sales Agents must be able to negotiate, draw up contracts, and deal with international client and Distributor demands.

Agents usually work with Delivery services, which dispatch all the necessary materials to Distributors eg the release print, inter-negative, inter positives, sound masters, script and legal documents. Because films are sold to a large number of territories, this work is ongoing.  Agents must also provide regular financial accounts for client filmmakers, including a breakdown of costs and income for each film.

Film Sales Agents need to continually acquire new films so regularly attend screenings and festivals, and meet with new filmmakers. They also promote new films at various film festivals and markets; at lavish premiere parties, or film screenings; or by providing VHS/DVD copies for potential buyers. If a film does not sell, it may be necessary to launch a revamped campaign in order to re-sell it to Distributors.

Independent filmmakers can spend years coming up with the perfect idea, scraping together the funding to shoot, and finally completing that masterpiece—but the film may be relegated to the shelf if it cannot be sold to exhibitors. Film sales agents represent filmmakers in need of a distribution agreement.

Duties

Generally, it’s independent directors or first-time directors working outside the studio environment who require the help of a film sales agent. Once the distribution deal is finalized, the film sales agent is responsible for delivering all components of the completed film to theaters. With so many films being produced each year, and with a great portion of those lacking a distribution strategy, these wheeler-dealers never lack for a challenge. Competing to find and acquire new films is the lifeblood of a film sales agent, and film premieres, industry parties, and film festivals are the hunting grounds. At the same time, promotion of the films is paramount to their success, so creating strong relationships with distribution outlets is key to their business. At times it may be necessary for a film sales agent to actually broker deals for filmmakers.

Skills & Education

A film sales agent should have an MBA and should complete coursework in film production, history, and finance; a course or two on legal aspects of the film industry would be beneficial as well. Though almost all jobs involving sales require a special ability to schmooze, a film sales agent needs many other skills to be successful. Having the ability to negotiate and sell is an obvious prerequisite, but being able to create relationships with theater owners and exhibitors, as well as sometimes-wary indie filmmakers, is key to success, as is understanding regional differences in taste. Essentially the film sales agent is a “jack of all trades” who knows what will sell and where.

What to Expect

This career may seem glamorous and exciting, but the day-to-day work is time-consuming and stressful. Certainly the parties and festivals can be fun, as can meeting the principals involved in the films, but there is an ever-present element of financial risk. Choosing a project to represent can be a crapshoot, especially when a film is not a blockbuster. It’s up to the film sales agent to find and create opportunities for distribution in other, lower-level outlets.

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,

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

Film Agent Sale List / Photo Credit: Film Daily TV

EXECUTIVE PRODUCER IN TELEVISION PRODUCTION… (In the Entertainment industry. Executive Producer (TV)

Camera a filming set / Photo Credit: WiseGEEK

EXECUTIVE PRODUCER IN TELEVISION PRODUCTION… (In the Entertainment industry. Executive Producer (TV)

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

Executive Producer (TV) in Motion Picture Production

In many ways, television production departs greatly from the formula for filmmaking, as do the job functions associated with certain titles. On a television series, the executive producer may be creator and chief writer of the product. This person is the ultimate creative force and business authority behind the property, rather than just the chief financial backer or the studio’s enforcer on a film set.

Duties

The first step toward a television series is a concept. The creator, who generally acts as a series executive producer, conceives of the story, format, and characters, and hires the writing staff. In conjunction with the showrunner, the executive producer supervises script meetings to flesh out the first season’s storylines. He or she will also help establish the show’s bible, which is maintained by the showrunner. Casting is an especially critical task, as principal characters are expected to be the central interest of the project; the executive producer has final approval over regular and recurring characters, and may spend a significant amount of time coaching the cast in their performance. This person is not directly involved with hiring all production staff, but will weigh in on episode directors and department heads. With his or her senior staff in place, the executive producer participates in all production and design meetings to set the look and feel of the show; he or she has approval over everything from set design and location to the wardrobe, the music, and the choice of recording format. During photography, this person trades time between consulting on set and coordinating business affairs in the production office; the executive producer is the point of contact for the network and studio, as well as having the responsibility to set the budget and shooting schedule.

Before the show airs, the executive producer must work closely with the editor on the final cut of each episode; he or she consults on each stage of post-production from spotting the music and sound effects to dubbing scenes. Finally, this person presents the cut to the network and studio heads, and participates in planning for marketing and promotional campaigns.

An executive producer is responsible for seeing a production through from beginning to end. A producer is in charge of various administrative aspects, including hiring and overseeing cast and crew, writing and editing content, maintaining a budget, and creating work schedules.

Executive producers work on the business side of production. They ensure that a production meets goals such as helping a television station remain competitive, projecting the intended brand image of a company, and introducing new concepts or ideas. A producer must also understand and work within union regulations.

Skills & Education

There are no specific education requirements for an executive producer. Many executive producers advance into the position after working within the industry. A bachelor's degree in film, music management, or journalism may provide an aspiring executive producer with a helpful background.

This is not the job for someone new to the game; an executive producer is a seasoned industry veteran with experience as a writer, producer, or director. Talent and tenacity are required, but an education in film and television production, entertainment business, or creative writing is encouraged as a foundation to your career. You must have a firm understanding of each stage of the development and production process, as well as knowledge of filming and video techniques and a talent for constructing a compelling story. Organization, business savvy, and the ability to communicate your vision in a way that enthralling listeners are a necessity in this line of work.

What to Expect

The place to start is the writers’ room. The most successful executive producers have done their time as staff writers or freelancers on past television series. Talent and skill will get you promoted from staff writer to story editor, writer-producer, and on up the ladder. To become an executive producer, you will have to land that one great pitch that sparks the interest of a network, so embrace your creativity and constantly be grooming your pet project for presentation to anyone who will listen. Be honest about your work; be true to your creative vision. As executive producer Ed Weinberger said, “Do the show you want to do, because in the end they’re going to cancel you anyway.”

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,

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.

Camera a filming set / Photo Credit: WiseGEEK