WHAT DOES A CATERER DO? (In the Entertainment industry. What Does a Caterer Do?)

Film Caterers / Photo Credit: Reel Deal Caterers

WHAT DOES A CATERER DO? (In the Entertainment industry. What Does a Caterer Do?)

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

What Does a Caterer Do?

Napoleon once said that an army marches on its stomach; as anyone in the film industry knows, this is also true for the hundreds of people it takes to make a movie. Caterers are not just useful for providing massive quantities of delicious food at corporate events and weddings, but are also pivotal to the movie-making process, feeding everyone on the film set from the actors to the grips and all in between.

Duties

The duties of a caterer seem pretty straightforward: You cook some food and serve it to people. While this is true, catering requires a great deal more. Catering is different than running a restaurant in that caterers bring the food to the location that the customer requires, which often requires the use of large mobile kitchens and a staff of chefs and servers. Caterers usually begin by putting together a proposal for the producers, which goes over variables like the date and length of the shoot, the number of people to feed, and menu ideas. From this the caterer will be able to come up with a final budget for food and, equipment, and staff. On larger films, there may be full-service catering, which includes setting up the décor and layout, from linens and flatware to flowers, for added ambience; on smaller films, a caterer who can make something (delicious) out of nothing is a godsend. Once the details are set, the caterer can use any number of CAD-based software programs to help plan his or her attack. Meticulous planning and a very detailed schedule is crucial in order to meet the tight deadlines and unique demands of catering a movie set.

Once equipment and mobile kitchen are secured, it is time to set up, cook and serve. Feeding a crew on a movie set is a task that often begins before sunrise and lasts until sunset. Crew call can be as early as 5 a.m., with cooks arriving early enough to prepare the food. Catering breakfast usually takes a few hours and can include anything from Belgian waffles and pancakes to custom omelets, fruits, cereals, pastries, and gallons of strong coffee. After breakfast, the few hours until lunch give the catering staff a little time to break down the breakfast set-up, clean up, and start preparing lunch. Union rules require a large meal six hours after the crew arrives, and timeliness is crucial to the caterer. While meals are sometimes catered, the buffet layout is most common. A selection of entrees will be presented, and enough food to feed anywhere from a handful to several hundred crew members must be available. Lunch is the caterer’s moment to shine, as on movie sets it is considered the highlight of the day for the cast and the crew.

Skills & Education

Caterers almost always have experience in restaurants and other dining facilities before going into catering. Many caterers also obtain degrees from culinary institutes or technical schools. Business education is also a plus, as many of the planning, proposal, and bidding activities require at least a cursory knowledge of costs, expenses, staff management, and marketing. A detailed résumé that shows a wide range of culinary skills and experience will gain entrance into a catering company, though a beginning caterer may have to start out at a smaller company to start. A financial investment is required—equipment and serve ware can be rented, but owning as much of your own rig as possible adds to profits. Some caterers are also licensed commercial drivers who can handle the big trailers that carry mobile kitchens, and in some states they must also be Teamsters. Mechanical skills are considered a plus, as there are sometimes kitchen equipment repairs that must be made on the spot. Caterers must also be sociable and easy to get along with, not to mention clean, as few people will hire a catering staff filled with unhygienic misanthropes. Finally, the single most important skill that any caterer can possess is the ability to cook a large quantity of tasty food in a minimal amount of time.

What to Expect

You can expect to be busy and tired. Caterers must be comfortable working in cramped and hot mobile kitchens while remaining congenial to cast and crew. You must be able to handle multiple food sensitivities and dietary restrictions with grace and flair. Shoots don’t always happen within the handy confines of a studio stage; you may find yourself stirring soup on a frozen tundra or flipping burgers at the beach. (Try not to get sand in the potato salad.) Cleanup of the serving station, dishes, and mobile kitchen, as well as the requisite paperwork, completes the 14-to-16-hour day for the caterer, then it’s time to restock for tomorrow’s meals. In the instance of a night shoot, you may be serving waffles at midnight and sleeping in the truck.

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

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 Caterers / Photo Credit: Reel Deal Caterers

WHAT DOES A CARPENTERS ASSISTANT DO? (In the Entertainment industry. What Does a Carpenters Assistant Do?)

Movie Set Construction / Photo Credit: YouTube - Maxes Default - Alex Pitt Photography

WHAT DOES A CARPENTERS ASSISTANT DO? (In the Entertainment industry. What Does a Carpenters Assistant Do?)

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

What Does a Carpenters Assistant Do?

This entry-level position in film, television, and live production works within the scenic or construction department and is vital to the efficient operation of the scene shop and to building of sets during pre-production.

Duties

The carpenter’s assistant answers directly to the lead carpenter and construction foreman, and is under the supervision of the construction coordinator, the head of the department. The responsibilities of the assistant include moving and storing of construction materials within the shop or on location and the general cleanliness of the facility. Typical tasks may include sweeping the shop, cleaning tools, and generally ensuring a safe working environment by keeping workspaces clear of obstructions or a buildup of sawdust that may pose a fire hazard. This person will also perform additional tasks as delegated by carpenters or other department crew. He or she is to adhere to all procedures established by the department head and may be required to provide a minimum of personal protection equipment and hand tools while on the job site.

To do this role, you will need to: 

• Have First-Rate Craft Skills in Carpentry and Joinery…
• Provide Creative Input during the Construction of Film Sets and Props…
• Be Aware of the Creative Shortcuts that can be used to Build Very Short-Term, Fake Constructions as cheaply, but as safely, as possible…
• Be Literate and Numerate…
• Understand Complex Drawings, Specifications and Technical Literature…
• Have Strong Mathematical Skills to Calculate Angles and Dimensions…
• Be a Team Players…
• Have Physical Strength and Stamina…
• Have a Good Sense of Balance…
• Be Comfortable Working at Heights…
• Know About Health and Safety… 

Skills & Education

Employment as a carpenter’s assistant requires only a high school diploma, but advancement within the scenic department will require an advanced education. Degrees in film and television production or theatrical design with an emphasis on scenic construction are recommended, though equivalent professional experience will suffice. Training in stagecraft is most important to this career field and involves learning the construction techniques commonly used in entertainment production as well as the use of shop tools and construction materials. Additional courses in art history, drawing, sculpting, and computer drafting are valuable.

What to Expect

The role of the carpenter’s assistant may be freelance and hired during pre-production, or this person can be employed full-time at a scenic shop that caters to film, television, and live productions. This is not a glamorous job, but it is the standard entry-level gig for those looking to learn the trade of stagecraft and advance to the role of scenic carpenter. Consider this an apprenticeship that allows you the opportunity to seek mentorship under industry veterans in your chosen craft. Dedication and hard work displayed in the menial tasks of the assistant will prove to your employer that you have the necessary passion and drive to succeed at the next level on the crew. When you’re on the job, never complain; those whom you work for expect you to treat the job as a privilege and appreciate every trashcan you empty. It is all part of paying your dues. Never wait to be asked to help. The more proactive you are and the less supervision you require, the more trusted you would be to take on more responsibility.

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

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.

Movie Set Construction / Photo Credit: YouTube - Maxes Default - Alex Pitt Photography

WHAT DOES A CAMERA OPERATOR DO? (In the Entertainment industry. What Does a Camera Operator Do?)

Camera Operator Qualifications / Photo Credits: Production Beast

WHAT DOES A CAMERA OPERATOR DO? (In the Entertainment industry. What Does a Camera Operator Do?)

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

What Does a Camera Operator Do?

A camera operator, sometimes informally called a cameraman, is a professional operator of a film or video camera. In filmmaking, the person designing the lighting is the cinematographer or director of photography, who is also informally called a "cameraman" though it is a different job. A camera operator in a video production may be known as a television camera operator, video camera operator, or videographer, depending on the context and technology involved, usually operating a professional video camera. The camera operator is responsible for physically operating the camera and maintaining composition and camera angles throughout a given scene or shot.

The camera operator works under the supervision of the director of photography (cinematographer) and is tasked with ensuring that the camera gets each shot just as the DP and director have instructed. Depending on the size and budget of a production, there may be several camera operators working in tandem.

Duties

In preparation for a scene, the camera operator blocks the set with the director of photography—the cameras are positioned, grips lay dolly track and set up jibs, and electricians place the lights. At this point, the director and DP confer on how to capture the shot. All cameras perform a run-through to plan movements and angles. The operators are aided by camera assistants to pull focus, load the film stock, change filters, and maintain all accessories. As the only pair of eyes that sees what the camera is capturing, the operator is responsible for adjusting aperture and making certain that the vision of the DP and director is translated to the film or video. It is this person’s responsibility to call for another take if the first was not up to par technically.

During the take, the camera operator looks through the viewfinder and relies on a team of technicians to keep her or him on track: grips push the dolly, operate the crane, and tow the cables. The operator may be asked to repeat takes several times if the director is not pleased with any aspect of the performance. When she or he is satisfied with the takes that have been collected, the camera department wraps on that scene and starts the process all over again. Camera operators may work on the first (or primary) unit, with the director and lead cast, or on one of the second units, who are typically responsible for picking up extra coverage, close-ups of objects for insertion in editing, establishing landscape shots, or international locations. In additional to principal photography, these technicians may be called upon to perform camera tests in preproduction and/or reshoots in post.

Skills & Education

Extensive training and experience in the operation of film and video cameras and accessories is required; a college degree in film and television production is the most comprehensive source for this education. Camera operators must understand the functions of both digital and film cameras, as well as lighting, color theory, and the development process. Framing a shot using light and color is an art that requires a creative and trained eye. Classes in still photography and fine art are helpful.

What to Expect

Practice is crucial; you must be as confident on a handheld as you are with a tripod. Steadicam operators are specialists, and the role is considered a separate position. Training in aerial photography, underwater filming, and other specialties will make you a valuable commodity, able to demand a higher salary. You must be prepared for any and all environments; today the set may be in an air-conditioned soundstage, but tomorrow you might be traipsing through the mud and fighting off insects the size of your fist. To get the gig you will have to put in time as a camera assistant. Accomplished camera operators can move up to larger productions, and may find an opportunity to graduate to the role of the director of photography. These technicians can become members of the International Alliance of Theatrical Stage Employees, which does offer a limited-access trainee program.

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

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 Operator Qualifications / Photo Credits: Production Beast

WHAT DOES A CAMERA ASSISTANT DO? (In the Entertainment industry. What Does a Camera Assistant Do?)

Red Cameras / Photo Credit: Digital FX - Louisiana Camera

WHAT DOES A CAMERA ASSISTANT DO? (In the Entertainment industry. What Does a Camera Assistant Do?)

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

What Does a Camera Assistant Do?

Camera assistants are the backbone of the camera department on set. These technicians aid camera operators in setting up gear, keep the sensitive equipment in tip-top shape, and trudge over hill and over dale to lug the DP’s Panavision on location.

Duties

The first assistant cameraperson, also known as the focus puller, is primarily responsible for ensuring a sharp picture. He or she works closely with the camera operator (under the direction of the director of photography) to measure the distance between the lens and the subject, and to maintain proper focal distance during camera movements. Tracking shots and crane movements will require the first AC to collaborate with both camera operator and the dolly grip or crane operator to ensure consistent focus. This requires an individual who has a keen eye and a good judgment of distance, and is quick on his feet. Any future focus puller would do well to study Alfred Hitchcock’s 1948 film, Rope. The feature is comprised entirely of long, uncut segments, including some of the most impressive tracking shots seen in a movie at the time. When not participating in photography, the first AC is also tasked with cleaning and maintaining lenses, and threading the camera with film. The full digital conversion has not yet overtaken Hollywood—35mm is still the standard.

Tasked with loading the film magazine and performing the scene slate with the clapperboard is the second assistant cameraperson (second AC). Sometimes dubbed the clapper loader, this person also controls the film inventory, completes camera reports, and will spike an actor’s mark when necessary. He or she is typically the only person permitted to have contact with the raw film and undeveloped negative. The second AC takes great care to maintain proper storage conditions of all film (both before and after photography) to ensure the expensive inventory and hours of shooting are not lost.

Skills & Education

Camera assistants must be trained in the proper setup and maintenance of camera equipment, handling of film, and techniques of photography. A college degree in film and television production is not required, but highly recommended.  The International Associate of Theatrical Stage Employees (IATSE) also provides apprenticeship programs on a selective basis. Camera assistants must understand concepts of light, color, and exposure; classes or equivalent experience in still photography are helpful. Training in the use of digital and high definition cameras is also valuable.

What to Expect

Work in the camera department starts as an IATSE trainee, or as a camera department intern. Advancement to the assistant roles and eventually gigs as a camera operator is based on experience and your proven ability through on-the-job training. Camera assistants must be obsessively meticulous in the care and maintenance of the equipment; you may be faced with shooting in sand, cold, rain, and mud, but the environment cannot be allowed to affect the proper operation of the gear. Without a clean, running camera production grinds to a halt. You are expected to be attentive to the needs of the operator and DP, as well as to anticipate problems and quickly act to resolve them before snags impede photography. If you have a strong work ethic, are reliable, and carry yourself with a high degree of professionalism, you will be an asset to any crew.

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.

Red Cameras / Photo Credit: Digital FX - Louisiana Camera

WHAT DOES A BOOM OPERATOR DO? (In the Entertainment industry. What Does a Boom Operator Do?)

DPA Microphones Mad Max Fury Road / Photo Credit: Mad Max - DPA Microphones

WHAT DOES A BOOM OPERATOR DO? (In the Entertainment industry. What Does a Boom Operator Do?)

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

What Does a Boom Operator Do?

Boom operators assist the production sound mixer by holding and operating a microphone attached to a long pole so that it is in the ideal position to capture the dialogue of the actors and other sounds. The boom operator decides where to place radio and clip microphones during recording and also assists with other sound equipment throughout productions.

Duties

The main duty of the boom operator is to find the best possible microphone placement to record dialogue or other sounds. The boom microphone, the boom operator’s weapon of choice, is held either by hand on a long arm (known in the industry affectionately as a “fishpole”) or mounted on a dolly that allows for greater movement. They also position microphones around the set or location, sometimes on the actors’ clothing, to ensure that the proper sounds are recorded while the unwanted sounds are minimized. As capturing the dialogue clearly is one of the boom operator’s key duties, becoming familiar with the script and “sides,” a small booklet of the pages to be shot that day, and memorizing the characters and their lines will help create a familiarity with what dialogue needs to be captured and how best to do it. Boom operators must also be familiar with planned camera movements and lighting so that the microphones remain in the camera’s safe zones and outside of the frame. A “boom in the shot” or an errant microphone shadow are the boom operator’s two worst nightmares. They often maintain and repair their sound equipment, so knowledge of electronics is almost as important as knowledge of acoustics. Boom operators are also expected to work closely with other members of the sound department and the camera crew, so being able to maintain good working relationships is extremely important.

Skills & Education

While there are no formal educational requirements to becoming a boom operator, a high school diploma is a basic prerequisite for employment; degrees or certifications from colleges, trade schools, and universities in programs like sound engineering or sound operation and design will allow potential boom operators to become familiar with the fundamentals crucial to the profession. Film school will also impart cinematic knowledge and help form networks necessary to succeed. As with any high-tech profession, continuing education is strongly recommended for those pursuing careers as boom operators. In addition to education, basic skills common to all successful boom operators include a cursory knowledge of electronics and sound recording equipment, excellent aural skills, strength and dexterity, memorization skills, good timing, attention to detail, and the ability to work with each different team involved in the filmmaking process.

What to Expect

A typical day for any boom operator includes showing up at the beginning of principal photography and becoming (and staying) familiar with the scenes, dialogue, camera movements, and lighting to be used during the shoot. Boom operators will then rehearse with the director, camera crew, and actors and make sure that the boom and other microphones are adequately concealed and placed in optimal locations. “Boom in the shot!” is something that no boom operator wants to hear on set, because few other exclamations can cause so much embarrassment, but it is not uncommon. For boom operators on the fishpole, hours holding it can cause great strain on the arms and the shoulders, so a supply of Bengay may be in order and sticking to a physical fitness regime is a good idea. Some of the perkss: on-set catering, working outdoors, and traveling to interesting locales for shoots. Some of the downsides? On-set catering, working outdoors, and traveling to interesting locales for shoots. Most boom operators’ work on a freelance basis; freedom and flexibility are some benefits of the job, but an aggressive savings plan is a smart move. Boom operators are often the first to arrive and the last to leave during shoots, so the days will be long, but rewarding for the right candidate.

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.

DPA Microphones Mad Max Fury Road / Photo Credit: Mad Max - DPA Microphones

WHAT DOES A BEST BOY GRIP DO? (In the Entertainment industry. What Does a Best Boy Grip Do?)

Dolly Tracks / Photo Credit: Disney - Kvibe

WHAT DOES A BEST BOY GRIP DO? (In the Entertainment industry. What Does a Best Boy Grip Do?)

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

What Does a Best Boy Grip Do?

The assistant to the key grip is the best boy, responsible for supervising the department technicians. This moniker applies to both male and female technicians, and is derived from the pre-union days of film when the elevated rank was granted conditionally to the best and brightest on the team.

Duties

The grip department on set is under the ultimate management of the DP, and is responsible for elements of scenery, lighting and camera movement. During preproduction the best boy may participate in ordering rental equipment and expendables and hiring personnel. During principal photography the key grip works closely with the DP to decide on the set-up and equipment necessary for each shot; it is then the best boy’s task to manage the crew in the use of light-cutting accessories like reflectors, gels, and diffusion equipment; the placement and operation of camera dollies and cranes; and the installation, movement, and strike of scenery.

The best boy also supervises crew through maintenance and repair of equipment and tracks inventory. He or she is responsible for ensuring that all rentals are returned on time, and that the right gear is in the truck and ready for each shot on the day’s schedule. In the event that a member of the crew is not pulling his or her weight, the best boy is tasked with correcting the behavior, and may be required to terminate the individual’s employment. Essentially, the best boy keeps the department running and the equipment working, allowing the key grip to concentrate on the needs of the DP.

Skills & Education

It is not required, but a college degree in film and television production is recommended. This education will give you both the theoretical and practical understanding of production, a firm knowledge of the gear, and experience that is invaluable to getting your first job. A grip should be mechanically inclined, and carpentry skills are useful; also, a good grasp of electricity is necessary. The International Alliance of Theatrical Stage Employees is the union that represents these technicians. IATSE also offers apprentice-training programs.

What to Expect

Grips work as freelancers on a per-project basis. In television you may have the opportunity to work as a staff technician for the series, or you may be contracted by episode. To rise to the rank of best boy, you will need several credits to your name working in the grip department. The contacts you make on each production are your first source of future gigs. Do your best to develop a close working relationship with any key grip who is willing to mentor you. If you are able to impress these veterans with your strong work ethic, eagerness to learn, and passion, you stand a far better chance of moving forward in your career. The best boy grip is expected to set an example for the rest of the crew; you’ve got to take the long hours, extreme environments, and stressful days with grace. You will make the key grip’s life much easier if you keep the little stuff out of his or her hair. Put down squabbles among the crew, anticipate needs, and always have the right tool for the right job (remember, gaff tape fixes everything). Never go anywhere without a Leatherman or Gerber, and always look for ways to work smarter, not harder. You will be a rock star if you save the DP an hour of daylight because your crew has the next shot’s rig prepped and standing by the second the director calls “cut.”

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.

Dolly Tracks / Photo Credit: Disney - Kvibe

WHAT DOES A BEST BOY ELECTRIC DO? (In the Entertainment industry. What Does a Best Boy Electric Do?)

Set Lighting / Photo Credit: Tumblr

WHAT DOES A BEST BOY ELECTRIC DO? (In the Entertainment industry. What Does a Best Boy Electric Do?)

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

What Does a Best Boy Electric Do?

Sometimes credited as the assistant chief lighting technician, the best boy (so called whether male or female) of the electric (lighting) department is the second in command under the gaffer. This role is not to be confused with the best boy grip, under the key grip.

Duties

The best boy is a supervisor responsible for ensuring that all required lighting equipment and appropriate personnel are on set for each shot—his or her most important piece of gear is a phone, not a pair of gloves. This person assists the gaffer in ordering expendables, arranging for gear rentals, and hiring electricians. When necessary, he or she is tasked with firing crewmembers. He or she also maintains detailed records with receipts for all expenditures of the electrics department. The best boy oversees the loading and unloading of vehicles and informs the crew which instruments and accessories to pull for every scene. On set, the gaffer and the director of photography will decide how a scene should be lit; it is then the best boy’s job to take those marching orders and lead the crew of electricians through pre-rigging the set, selecting the right lighting instruments, and ensuring that there is enough available power. This person is responsible for returning rental gear, signing off on the crew’s hours, and monitoring the department inventory for maintenance and repair.

Skills & Education

A best boy, like any electrician, must have a firm understanding of electricity, color, mathematics, and the lighting instruments used on set. Courses in film and television production, electrical engineering, and color theory are helpful. Experience as a set electrician is required to move up to a role as best boy. Work on student films and independent productions can build your résumé toward larger studio projects. These technicians are not certified electricians, but can be members of the International Alliance of Theatrical Stage Employees (IATSE), which offers an apprenticeship and journeyman program, as well as training toward certification with the Entertainment Services and Technology Association under the Entertainment Technician Certification Program.

What to Expect

To succeed as a best boy, you must be a highly skilled electrician, an excellent communicator, and organized enough to supervise several tasks at once. On set the hours can be long, work stressful, and conditions uncomfortable. One week you may be shooting in the Mojave, the next freezing your tail off in Toronto. You must be flexible and able to roll with the punches. The upside is that you have a front-row seat during principal photography. With experience a best boy can move up to gaffer, or land best boy gigs on bigger productions.

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.

Set Lighting / Photo Credit: Tumblr

WHAT DOES A BAND VIDEOGRAPHER DO? (In the Entertainment industry. What Does a Band Videographer Do?)

Videographer Multimedia Equipment / Photo Credit: APB

WHAT DOES A BAND VIDEOGRAPHER DO? (In the Entertainment industry. What Does a Band Videographer Do?)

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

What Does a Band Videographer Do?

Similar to the work of a unit videographer, a band videographer is a freelance cameraperson who is hired to capture footage of live performances on behalf of the artist or band for the purposes of promotion.

Duties

The process of securing a gig begins in an initial meeting, where the videographer makes a bid on the project that details a specific fee or hourly rate for a particular project, like one performance or three weeks of touring. When the client agrees, the two parties enter into a temporary contract for services. At this time, the specific responsibilities of the videographer are outlined. In addition to recording live shows, this person may also be tasked with editing the video, applying after effects, inserting title cards, editing sound, and submitting to the members of the band to approve drafts as well as the final cut. In a separate design meeting, the videographer will seek the band’s input on how they would like to be portrayed, the style, and mood of the video. The musical style of the group will greatly affect the finished product, so the videographer is interested in listening to the band’s material and obtaining copies of their set lists for each performance.

The band videographer will be given backstage access and should communicate with the venue manager and concert producer to secure permission for video recording. During the performance, he or she uses a handheld digital video camera with onboard audio package to capture as many angles and perspectives of the performance as possible; this is called coverage. The more material shot, the more options and freedom the videographer will have in the editing process, which is typically done using Final Cut or similar non-linear editing software. While the band rocks out, the cameraperson should take care to capture personality shots of each member of the group; that’s footage of one member at a time displaying his or her individuality, like a soulful guitar solo or lead singer wailing. The videographer also wants to capture the vibe of the show, the energy of the room. After the performance, this person will have a specified amount of time to turn around the complete video. Again, during editing and finishing, the band may request to see rough cuts and suggest changes.

Skills & Education

A college degree in film and television production or digital video production is not a requirement for taping local bands in dive bars, but to advance your career to working with major recording artists, formal training is required. The band videographer should be proficient in the use of several formats of digital cameras, as well as Mac and PC editing software. Use of audio editing tools like Pro Tools, Final Cut, or similar applications is also necessary. This career demands that the individual be familiar with the concepts of color, light, and techniques of framing a shot, so study of still photography and fine art is also beneficial. Of course, you are expected to provide your own gear for gigs, so do your research and invest in a camera, editing software, and audio/lighting package.

What to Expect

Contracts will vary greatly by client, but many videographers have standard forms, which they offer to all clients, then make small changes as necessary. You can find examples of these through several sources online. One mistake some rookies make is not allowing enough time to deliver quality editing. Do not be afraid to take your time. It is better to be on deadline than to turn in a quick job that is substandard. As for payment, it is common to require half of the total fee upfront, and half upon delivery of the final edit. In addition, you should carefully consider (and research) your copyright options. Some bands may be content with allowing you to own any future reproduction rights, while others will insist that the band must own all material once delivered. To start your freelance career, you can contact local bands in your area to offer your services. They may ask that you do a couple of free gigs to prove your chops, but if you prove yourself, word of mouth will spread quickly. Just make sure to bill your work out at a price that is equal to your experience.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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

Videographer Multimedia Equipment / Photo Credit: APB

WHAT DOES A BAND COORDINATOR DO? (In the Entertainment industry. What Does a Band Coordinator Do?)

Band Gear Coordinators / Photo Credit: American Events Production

WHAT DOES A BAND COORDINATOR DO? (In the Entertainment industry. What Does a Band Coordinator Do?)

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

What Does a Band Coordinator Do?

Those with a passion for music who also dream of working in television need not worry; there’s a career for that. Late night and variety television shows like Saturday Night Live or Late Show With David Letterman employ house bands as integral components; to manage the musicians, a uniquely skilled individual with specific education is needed to act as the go-between.

Duties

The band coordinator is responsible for wrangling the house band on a television show and making sure that the musicians are in the loop and prepared for the live performance; this person is the liaison between the performers and the network publicity department, writers, producers, and production crews. The band coordinator sets up schedules for rehearsals, promo spots, and live taping, and works with the music director to assemble the set list and distribute sheet music. When revisions are made to the sets, the coordinator is responsible for seeing that all musicians are kept up to date and assists in preparing cue sheets. For guest performances, he or she will collaborate with the music booker and arrange sit-ins with the house band.

On taping day, the coordinator assists the production staff in setting up the band’s stage area and distributes necessary information to the sound engineers. Additional responsibilities will vary, but may include helping to research licenses for performance of copyrighted songs and securing sheet music copies. Where necessary, the coordinator may also hire an arranger to transpose compositions for individual parts. If a member of the production staff is not assigned this responsibility, the band coordinator will be tasked with ensuring that the obligations of the band’s contract rider are met, and work with the show producers and performer’s management to resolve any conflicts.

Skills & Education

A college degree in a music concentration or film and television production is necessary; courses in music composition and recording arts are also helpful. The band coordinator must have the organizational skills to juggle competing priorities, but also the musical and technical know-how to aptly support and collaborate with performers and audio engineers. This person should be capable of breaking down a script for cues and reading sheet music. Experience in the music industry is very valuable, as is an understanding of music licensing and standard performance contracts.

What to Expect

This job is usually offered as a run-of-show contract, and is a full-time role. Previous experience in record label A&R or talent booking in clubs is excellent preparation for this gig, which can transition into future work in film and television such as music supervision, music direction, or talent booking for television programs. Rehearsal and production schedules on daily programs are intense; changes are made frequently, on the fly, and at the last minute. You should be prepared to run at a high, constant pace with little downtime. Flexibility and the ability to roll with the punches are required personality traits; if you prefer routine, this isn’t the gig for you. However, if you thrive in a fast-paced environment and work best on your toes, you’ve met your match.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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

Band Gear Coordinators / Photo Credit: American Events Production

WHAT DOES AN ASSISTANT SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What Does an Assistant Sound Effects Editor Do?)

Sound Effects / Photo Credit: A Sound Effect

WHAT DOES AN ASSISTANT SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What Does an Assistant Sound Effects Editor Do?)

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

What Does an Assistant Sound Effects Editor Do?

Without the noises and sounds that accompany all physical action in real life, a movie or television show lacks the reality that our brains expect and need in order to fully become immersed in the viewing experience. The sound effects editor works under the direction of the supervising sound editor and is responsible for manufacturing, recording, and editing all sound effects tracks included in a film or TV show.

Duties

Immediately upon being hired, the sound effects editor begins work on the script breakdown: making detailed notes identifying all sounds specifically mentioned in the script or implied by the action. Sound effects fall under four basic categories: hard sounds, background, Foley, and design. Most hard sounds and background can be sourced from sound effects libraries, which exist as digital files or on CDs and are carefully cataloged with precise descriptions. All production companies and motion picture studios have their own unique libraries, and a veteran SFX editor will have his or her own collection of recorded material. These sound effects are used to replace “dirty” (that is, unusable) sound recorded during principal photography, or to include as supplemental noises that enhance the environment but do not correspond to specific action visible on screen (for instance, wind and insect noise added to an exterior shot). Where Foley sound must be created, the sound effects editor will collaborate with the Foley artist to recreate natural sounds on a Foley stage, which is then synchronized with the visual action in the picture.

Designed sound is any unnatural audio that cannot be captured from real life. To represent the sound a spacecraft might make while hovering above the ground or a giant fairy-tale beanstalk bursting from the earth, the SFX editor will manipulate other recorded sounds or synthesize new audio tracks with the use of digital audio software. During the process of editing sound effects tracks, the sound effects editor meets with the director and sound designer to showcase work completed thus far and receive notes on elements to alter or replace. When all tracks are complete, the sound effects editor is responsible for delivering SFX cue sheets and tracks to the post-production sound mixer. He or she will be present in final reviews of post-production sound with the final picture edit, at which point further changes may be made until the director and producer are happy with the result.

Skills & Education

A college degree in film and television production with an emphasis on sound recording and post-production editing is encouraged. Coursework should include dubbing, automatic dialogue replacement, music editing, sound effects editing, and Foley recording. Additional training on both analog and digital recording consoles, as well as software applications like Pro Tools, is necessary. Every sound effects editor should own a synthesizer and become familiar with the tools and techniques common to the trade. This career requires a technically savvy individual with a keen ear for sound and the creative capacity to deliver audio that emphasizes and complements the moving images on screen.

What to Expect

A sound effects editor may work as a freelance technician or as a permanent employee of a post-production sound studio. Those interested in pursuing this career should seek apprentice or entry-level positions within the sound department of an independent or low-budget project in order to gain experience and build a résumé. Specifically, try to concentrate your efforts on finding work within a post sound studio where you can work full-time or part-time under the mentorship of an established veteran. Participation on student films while in college is an excellent way to hone your skills. Work as an assistant sound effects editor or intern can provide a path toward advancement.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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

Sound Effects / Photo Credit: A Sound Effect

WHAT DOES AN ASSISTANT SCRIPT SUPERVISOR DO? (In the Entertainment industry. What Does an Assistant Script Supervisor Do?)

Script on Set / Photo Credit: Nevada Film Office

WHAT DOES AN ASSISTANT SCRIPT SUPERVISOR DO? (In the Entertainment industry. What Does an Assistant Script Supervisor Do?)

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

What Does an Assistant Script Supervisor Do?

Most film and television productions will employ only one script supervisor, but large projects can require an assistant to help shoulder some of the responsibilities of that position. This person is hired by the script supervisor and will support him or her in maintaining records and processing script changes during principal photography. Usually considered part of the camera department, script supervisors are occasionally work independently as a separate department.

Duties

The assistant script supervisor (script assistant) will not oversee filming but shall work under the direction of the script supervisor to complete numerous related tasks during production. Among the responsibilities of this position are collecting and transcribing script revisions, disseminating those changes to department heads, as well as transferring continuity notes to the corresponding page colors. Each new revision of the shooting script is printed on a different color of paper, in order to identify old versions from the current shooting script. In connection with revisions, the assistant script supervisor must recalculate the scene totals and one-eighth breakdown, which is a measurement of inches of the page used to determine scene length. As filming proceeds, this person is responsible for checking prints with the sound and camera department to ensure accurate labeling and corresponding notes for the editor. The assistant is most often delegated the task of preparing the editor’s lined script from the supervisor’s pages and must transcribe dialogue changes. On a daily basis, he or she will file all pertinent information in the master editing script.

While on set, the assistant will participate in taking photos for the purpose of ensuring continuity of each scene for pick-up shots or retakes and is responsible for maintaining the catalogues of those photographs in an organized manner. If deemed appropriate, the assistant script supervisor may run lines (rehearse dialogue) with the actors in preparation for filming. This person is charged with maintaining forms and supplies of the department and may be delegated the typical office tasks such as making copies, procuring materials, and similar duties. If the assistant is required to work on a second unit production team, he or she is upgraded to a department head.

Skills & Education

The position of an assistant script supervisor requires an individual with an obsessive attention to detail that is capable of meticulous note taking amidst numerous distractions. Most important will be this person’s capacity to accurately transcribe information quickly and to ensure exact consistency. A college degree in film and television production is recommended, as this person must be knowledgeable about the filming process and able to communicate with the sound and camera departments concerning continuity. Understanding how to break down a script for the preparation of editors’ notes requires specific training that can be gained as part of a degree program or through mentorship under a veteran script supervisor.

What to Expect

Time will be split between working on set to cover continuity photographs and completing notes and script revisions in the production office. This is most often a freelance career. You should anticipate irregular hours based on the shooting schedule, and travel may be necessary when working on location. This position is a natural steppingstone toward work as a script supervisor, and prior experience as a production assistant within the production office is useful. Some films and television series offer work for script trainees who are allowed to serve under the direction of the script assistant and will receive dedicated training and mentorship toward promotion. Most trades within film and television are learned through apprenticeship, as this has been the practice since the inception of the industry. Script supervisors and assistants are eligible for membership in IATSE, the union that represents artists and technicians working in entertainment production.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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

Script on Set / Photo Credit: Nevada Film Office