BBB Research Analysis Development Company & Dumb Dog Productions LLC: August 2018

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

Dumb Dog Production is a full-service Film Production Company. We hope you find the site informational and answers any questions you might have about the entertainment industry.

We do not claim that this site is a be all and means to an end, but to help guide and learn how the entertainment industry work.

Please do not hesitate to contact us for any questions.

Thank you,

Sherri (Bisbey) Rowe / Bruce Bisbey / James Bisbey

Email: brucedumbdog@gmail.com Dumb Dog Production Phone: +1 319-930-7978 Dumb Dog Productions LLC / Bus Lic.: 5084725 https://dumbdogproductions.com/ https://dumbdogproductionsllc.blogspot.com/ https://www.facebook.com/DumbDogProductionsLLC/

Saturday, August 25, 2018

WHAT DOES A LEAD PAINTER DO? (In the Entertainment industry. What Does A Lead Painter Do?)

Variety of Black Oil Paints / Photo Credit: Art Related Blog

WHAT DOES A LEAD PAINTER DO? (In the Entertainment industry. What Does A Lead Painter Do?)

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

What Does A Lead Painter Do?

Hired during pre-production by the paint coordinator or paint foreman on a film or television set, the lead painter is a senior member of the crew who shall take on the greatest responsibility for mentoring the staff at large and for setting the example for artistic quality.

Lead Painter are usually briefed by the Production Designer and/or the Chargehand Painter 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.

The Lead Painter 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 lead painter works under the supervision of the paint foreman and paint coordinator; this person should be capable of taking on the duties of the foreman in his or her absence and able to perform those tasks as delegated by the same. His or her primary responsibilities include painting set pieces, props, backdrops, cutouts, and permanent structures. In the event that a key scenic artist is not employed on the production, this person may also be charged with applying faux treatments to scenery, such as wood grain, aging, or breakdown. Typically, the lead painter is given the most complicated or intricate assignments that require the most skill and attention to detail. He or she may benefit from the help of an assistant who will perform preparation work, like sanding, filling, priming, and undercoating. Common jobs associated with the lead painter’s duties are spray painting, plastering, varnishing, and the application of materials like faux cement. On a large-scale production, the lead painter may be given the responsibility for supervising a small crew of painters in the completion of assigned projects. At all times, this person will adhere to established safety protocols and enforce department policies on behalf of department heads.

Skills & Education

A college degree in film and television production with an emphasis on scenic design is recommended, though majors in fine art or theatrical design are applicable to this career. The lead artist should display significant artistic talent, accompanied by an education in traditional drawing, painting, sculpture, and art history. He or she should be familiar with the common techniques of scenic painting and be familiar with the proper use of industry standard materials. Additionally, the lead painter must understand the procedures for appropriate storage and disposal of hazardous substances in the work location. The individual in the position must be willing to mentor junior painters and provide leadership within the department.

What to Expect

As a veteran of the paint department, the lead painter should have extensive professional experience, including work as a junior-level scenic painter, key scenic artist, and sign painter. Theatrical credits as a scenic charge artist or scenic artist are also applicable to a career in film and television production. Freelancers may work for a day rate, weekly salary, or hourly rate depending on the specific contract. Artists who are employed full-time with a scenic shop typically receive an hourly rate. Individuals within this craft are eligible for membership in IATSE, the union that represents artists and technicians within the entertainment industry. Union rates will vary.

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

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.

Variety of Black Oil Paints / Photo Credit: Art Related Blog

Friday, August 24, 2018

WHAT DOES A LEAD CARPENTER DO? (In the Entertainment industry. What Does A Lead Carpenter Do?)

Set Construction / Photo Credit: 4 Wood TV and Film

WHAT DOES A LEAD CARPENTER DO? (In the Entertainment industry. What Does A Lead Carpenter Do?)

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

What Does A Lead Carpenter Do?

Carpenters' work on film production is varied, and they play a crucial role in both the look and smooth running of the film.

Taking instruction from the Charge hand Carpenter, they produce a variety of structures, ranging from onscreen props such as window frames and staircases, to replica spacecraft or medieval ships.

They also carry out a great deal of off-screen building, creating support structures such as the raised platforms that may be required by the crew during filming.

Carpenters are responsible for carrying out work to the standards and deadlines set by the Charge hand Carpenter.

During pre-production, carpenters usually work out of a film production's workshop. During production, they may have to travel to the filming location to help assemble the wooden structures required.

At the end of the shoot, Carpenters help to 'strike' (take apart and remove) the wooden structures, ensuring that they are safely and securely disposed of, stored, or returned to the appropriate place.

Filming is an involved and complicated process with numerous teams working in collaboration to bring the several logistical and creative pieces together. The set construction process is a small example of that; many skilled craftsmen and women work diligently to complete pieces of a larger design that come together only through cooperation and careful planning.

Duties

The construction crew is responsible for building the sets and scenery for a film or television show according to the plans set forth by the production designer and set designer. The lead carpenter works under the supervision of the construction foreman to see that all members of the crew adhere to technical standards during set construction. He or she is also responsible for ensuring that teams complete assigned projects according to production deadlines, expediting work as necessary to keep the build on schedule. This person is first a skilled craftsperson who participates in the construction process, with the added responsibility of managing subordinates in their day-to-day activities. The lead carpenter is available to mentor junior crewmembers and to be a first point of communication between the foreman and crew.

Skills & Education

As a senior member of the construction crew, the lead carpenter must have several years of practical experience. A solid foundation in the standard principles of building practices is necessary, accompanied by a mastery of the techniques specific to scenic construction for film and television. Thinking practically, the lead carpenter must possess considerable skill in using trade tools and reading and interpreting build design blueprints. Though techniques can be taught, skill and talent must be practiced. Hands-on learning is the best education, as many professionals have spent years in the apprenticeship of a mentor. A college degree in film and television production with a concentration on set design and carpentry is beneficial. The degree provides an additional advantage in learning the production process, as well as an understanding of the different trades associated with the many departments within a production team. As a leader, this person requires the ability to communicate effectively within groups, exhibiting good decision-making and organization.

What to Expect

Not all carpenters find their way onto a film or television set through a film degree. Many come from a traditional theater background, while others find opportunities to enter the industry after developing the necessary skills while working in commercial or residential construction. Like any facet of the business, making a career for yourself is all in who you know. Seeking out opportunities to learn from veteran professionals while developing your skills is beneficial, not only to perfect your craft, but also to develop working relationships that can be an avenue to employment. It is common that a novice crewmember starts by being a shop hand, tasked mostly with cleaning, running errands, and assisting when asked. Employment opportunities exist within scenic shops that cater to the entertainment industry, as well as those for freelancers on a contract basis. Though it isn’t glamorous, take every chance you find to participate in student films, Community Theater, and other amateur work. The experience gained will be worthwhile when seeking your first paid gig. After several years of professional work as a member of the construction crew, those who have mastered the trade can seek advancement to the role of the lead carpenter.

Set Construction / Photo Credit: 4 Wood TV and Film

Thursday, August 23, 2018

WHAT DOES A KEY SCENIC ARTIST DO? (In the Entertainment industry. What Does A Key Scenic Artist Do?)

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

WHAT DOES A KEY SCENIC ARTIST DO? (In the Entertainment industry. What Does A Key Scenic Artist Do?)

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

What Does A Key Scenic Artist Do?

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.

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.

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

WHAT DOES A KEY MAKE ARTIST DO? (In the Entertainment industry. What Does A Key Make Artist Do?)

Makeup Stations / Photo Credit: The Makeup Light

WHAT DOES A KEY MAKE ARTIST DO? (In the Entertainment industry. What Does A Key Make Artist Do?)

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

What Does A Key Make Artist Do?

Everyone wears makeup in the movies. Seriously, everyone. The work of a makeup artist on a film or television show is not limited to glam-ing up the leading lady or turning a walk-on actor into a decaying dead body on the autopsy table, the job is also utilitarian and necessary to counteract the negative effects of intensely bright production lighting. Without makeup, all performers on screen would appear pale, washed out, and with facial expressions barely visible.

A make-up artist or makeup artist is an artist whose medium is the human body, applying makeup and prosthetics on others for theatre, television, film, fashion, magazines and other similar productions including all aspects of the modeling industry. Awards given for this profession in the entertainment industry include the Academy Award for Best Makeup and Hairstyling and even several entertainment industry awards such as the Emmy Awards and the Golden Globes. In the United States as well as the other parts of the globe, professional licenses are required by agencies in order for them to hire the MUA. Bigger production companies have in-house makeup artists on their payroll although most MUA’s generally are freelance and their times remain flexible depending on the projects. The use of digital cameras may have made the use of bridal make up more popular.

Make-up and Hair Artists must be able to create make-ups and hairstyles to meet production requirements. They oversee make-up and hair continuity during filming and remove products as required. Make-up and Hair Artists are employed throughout pre-production and production, and usually work on a freelance basis.

Make-up and hair are key elements in the overall design of films and television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.

On film and TV dramas, their work is directed by Hair and Make-up Designers who provide them with detailed notes, character and scene breakdowns and, if necessary, reference pictures about the characters they must create. Sometimes, they may only receive a rough brief, and must produce their own script breakdown, and research and create their own design notes. They work on principal and supporting Actors, usually looking after several actors throughout the shoot. They must maintain the continuity of the actors' ‘look’.

On smaller productions, they negotiate terms with suppliers and wig and prosthetic makers, providing them with design specifications and ensuring that they deliver on time. They discuss color palettes with Production Designers and Costume Designers. They make appointments for, and if necessary, go with actors to wig fittings, facial hair fittings, prosthetic castings, optician and dental appointments.

Personal Make-up and Hair Artists are specifically requested by one of the principal Actors to work on their make-up and hair. Although they receive a rough brief from the Make-up and Hair Designer, they prepare their own script breakdown, and research and create their own designs.

Dailies work on productions on a day-to-day basis, usually on large crowd scenes.

In all cases, Hair and Make-up Artists check whether actors have any skin and/or scalp conditions in advance, and make sure that any allergies or sensitivities are taken into consideration. They must also carry out full risk assessments and develop procedures to control risks. They apply make-up, affix prosthetics, wash, cut, blow-dry, style and set hair, apply products and use specialized techniques to create specific designs. They set and dress wigs and hairpieces, and work with facial hair and false pieces, such as beards and moustaches. They may also apply special effects make-up, e.g., grazes, cuts and bruises, and bald caps.

They usually accompany their performers onto set, standing by to touch up make-up between takes, and ensuring that continuity notes are maintained using photographs. When the scenes have been shot, they remove performers' make-up, washing out products from their hair and conditioning it. They remove wigs and prosthetics, ensuring that they are cleaned and prepared for further use.

Duties

Answering to the director and production designer, the key makeup artist is a department head that is responsible for planning the makeup designs for all leading and supporting cast, to include cosmetic makeup and facial/body hair applications. When a special effects makeup artist has been hired on to the production, the key makeup artist will consult with this person on the execution of all prosthetics and SFX makeup. In production, the key artist will perform most of the daily makeup applications, while delegating additional responsibilities to subordinate crew. It is common that the department head performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles, depending on seniority. The department head will execute especially complicated or important makeup processes that are to be featured on camera. The key makeup artist and crew remain on set or in the makeup trailer throughout the entire shooting day to perform touchups as needed and to remove makeup from performers.

In support of the function of the makeup department, the key makeup artist is ultimately responsible for recording continuity of makeup during shooting. The task of making notes in the script and photographing the cast may be delegated to another crewmember, but the department head will closely supervise these activities. This is to ensure that if re-shoots must be done, the crew can accurately recreate the look to match the previous footage. This person is also tasked with tracking and purchasing makeup materials and equipment, scheduling crew, and fabricating special prosthetics. Again, these tasks may be assigned to subordinate crew but are ultimately the responsibility of the department head.

Skills & Education

A formal degree is not required for a career as a key makeup artist, but training and practice are essential. Education can be gained through attaining a degree in film and television production or theatrical design with an emphasis on makeup, or through attending a traditional cosmetology school. Many working makeup artists learn in part by mentoring under a veteran of the industry. Basic techniques can be taught in a classroom environment, but continuing education under a seasoned master is necessary to pick up those individual trade secrets. While it is not a requirement that a makeup artist be a chemist, a basic understanding of chemistry is beneficial in adapting and innovating how different products are used. Many professionals are known to work up their own proprietary blends for use on set. Furthermore, as production cosmetics can vary widely from consumer products, a makeup artist must be aware of how the makeup will react to specific conditions of heat, moisture, and other cosmetics. Specific training in applying makeup for film and digital video is essential; this should include an in-depth course in production lighting and cameras.

What to Expect

Like most creative and skilled trades, makeup in film and television production is a field that requires constant and continued re-education. Each time you have mastered a particular technique or found a product to swear by, someone has innovated a newer, better version. At the very least, it keeps the work interesting. On the job, makeup artists can anticipate to work irregular schedules and long hours, depending on the production schedule. While the trailers on set may look familiar, shooting locations may vary from a production lot in LA to unpredictable terrain in the middle of the desert or a rainy tropical region. The key makeup artist must plan for all eventualities that can affect the function of his or her department; that means accounting for weather, electrical needs (in coordination with the generator operator), and ensuring that there is a sufficient quantity of extra supplies. When on location in a remote setting, there is no sending an assistant out for more Q-tips or concealer. As makeup artists often find themselves in very intimate settings with the cast in the application of facial and body makeup, a good artist should be discrete, polite, and always gentle with the mascara brush. It should go without saying, but a breath mint and good dose of deodorant go a long way in a small trailer.

Makeup Stations / Photo Credit: The Makeup Light

Wednesday, August 22, 2018

WHAT DOES A KEY GRIP DO? (In the Entertainment industry. What Does A Key Grip Do?)

Grips and Grips Equipment / Photo Credit: Knight Grips

WHAT DOES A KEY GRIP DO? (In the Entertainment industry. What Does A Key Grip Do?)

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

What Does A Key Grip Do?

Best guess is the term “grip” comes from the old English theater, and referred to a tool bag or “bag of tricks.” When someone called for the grip, a technician would fetch the bag. Over time, “get the grip” was a call for the person with the grip, and eventually the term stuck to that technician. In American theater the term is long forgotten, but it has translated into film and television production. The grip is now an on-set technician who is concerned with camera movement equipment and cutting or diffusing light to create shadow. The head of this department is the key grip.

In the U.S. and Canada, grips are technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions. The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second main function of grips is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.

Duties

Before filming begins, the key grip attends location scouts and meets the director of photography to determine what additional tools (location-specific motor vehicles, dollies, cranes, mounts, etc.) will be needed, orders and prepares required equipment, and transports equipment to the filming location. Once on set, the key grip coordinates with the electric and camera departments alongside the director of photography to control lighting and camera movement and setup. As a supervisor, the key grip directs the crew of grips, many with specialized skills such as dolly grips, crane operators, or special equipment operators. The key grip is sometimes credited as the "first company grip."

The key grip works for the director of photography (DP) and supervises the crew of grips responsible for camera equipment and accessories and anything associated with the camera’s operation and movement, as well as anything that cuts or diffuses the lamps set up by the gaffer’s crew. He or she attends preproduction meetings with the director, producers, DP, and location scout to determine what special equipment may be needed during the shoot, then works closely with the gaffer on-set to supervise the positioning of scrims, reflectors, and flags that diffuse light and create shadow. During the shoot, the key grip will also assign grips to oversee camera movements that require dollies or cranes, as well as managing set operations like the movement of wild walls. Once the set is built and has been photographed, it is no longer the responsibility of the construction crew, but the grip department. Because they are in charge of all rigging, the grip department is responsible for safety on-set, and the key grip can be taken to court if an accident happens.

On large productions the key grip will have a best boy grip (male or female), who is the second in command, and a crew of grips who are highly specialized in specific tasks: set ops grip, dolly grip, construction grips, and crane operator. On very small shoots, the key grip may function as part of the crew, but generally this is only a supervisory role—the heavy lifting and laying of track is left to the grips. Most key grips will have at least some of their own grip equipment. A key grip often has his or her own grip truck, and will rent it to the production he or she is working on.

Skills & Education

A college degree is not required in this role, but training is. A degree in film and television production can introduce you to the filming process, the use of grip and camera equipment, and the artistic theory of photography. As a key grip you need to be mechanically inclined, with an excellent understanding of light, color, and electricity. Most working key grips are members of IATSE (International Alliance of Theatrical Stage Employees), which offers apprentice-training programs. Working as a grip on union productions is the only way to make the move up to key grip. Commercial or residential construction experience is also useful toward this role, as many working in the grip department have made the leap to film and television production through friends and close contacts.

What to Expect

This is a freelance position that requires long hours, travel, and (sometimes) manual labor. A good key grip is an effective leader, an excellent communicator, and a creative problem-solver. You are expected to be just as good at taking orders as you are giving them. You must be well-organized and great strategic planner, and comfortable with the great responsibility: The key grip is liable if someone is injured on the set. A key grip needs to be flexible and highly adaptable; locations, crews, and working conditions are constantly in flux. Keep in mind that in the production business, you are only as good as your last gig. As with most film production jobs, you will usually be hired again and again by the same handful of people, but every new job is another audition screw up on one and you may not be hired on the next. Once a best boy rises to the rank of key grip, he or she can work toward building a career in big-budget films and major studio productions or aim higher to try to become a DP.

Grips and Grips Equipment / Photo Credit: Knight Grips

Tuesday, August 21, 2018

WHAT DOES A KEY COSTUMER DO? (In the Entertainment industry. What Does A Key Costumer Do?)

Costume Department / Photo Credit: Don't Shoot the Costumer - Word Press

WHAT DOES A KEY COSTUMER DO? (In the Entertainment industry. What Does A Key Costumer Do?)

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

What Does A Key Costumer Do?

The key costumer is responsible for supervising the on-set activities of the wardrobe department, including managing personnel and maintaining the costume designer’s artistic vision.

Duties

Before principal photography, the key costumer works closely with the costume designer to assign garments to each character and complete the script breakdown. He or she should be intimately familiar with the wardrobe needs of each scene and the necessary evolution of the costumes. When a character wears an outfit through a series of narrow escapes and brushes with fiery death, that outfit will incur wear and tear: bloodstains, dirt, holes. The wardrobe department is responsible for providing as many copies of the same clothes as needed for the various scenes (which will not be shot in chronological order) showing appropriate damage or wear.

Once shooting has commenced, the key costumer is charged with ensuring that all garments are worn and assigned to the cast as intended by the designer. He or she must maintain continuity between scenes and see that all wardrobe is camera ready before the take begins. This person supervises the staff of assistants that dress the actors and attend to emergency repairs between scenes. He or she is also tasked with ordering expendables and equipment necessary to the on-set crew, like sewing machines, repair materials, and distressing tools. In accordance with the preliminary budget set forth by the costume designer, the key costumer must monitor spending and submit weekly expense reports to the line producer (or unit production manager), along with the crew’s payroll. When necessary, this person has the authority to hire additional daily crew, and to dismiss staff under his or her supervision.

Skills & Education

A formal education is not required, but proven skill in the design and construction of clothing is expected. A college degree in fashion design, film and television production, or theatrical design is applicable to this career field. Most important is the demonstrated ability to manage a high volume of cast, crew, and wardrobe inventory, and accurately adhere to a costume designer’s instructions. The key costumer must have a meticulous attention to detail, as not a single earring or bracelet should be confused between the leading lady and supporting actress. Also necessary is the thorough understanding of the complete production wardrobe process—you must be just as proficient at sewing and dyeing fabric as you are at styling an entire horde of background players.

What to Expect

The better part of your day will be spent on set, styling extras, taking photos of scenes for continuity, and perhaps dressing the principal players. Celebrity actors are notoriously fussy about who sees them in their unmentionables, so it is common for these individuals to insist on a trusted personal costumer. Dealing with difficult personalities, actors who have lost or gained weight since fittings, and garments that mysteriously disappear is all part of the gig. It is your job to have a plan for every contingency and to keep the department running smoothly. In the inevitable case where an actor refuses to wear a particular design or the director suddenly hates the zipper on the dress he approved three months ago, you must be prepared to strike a compromise that still stands by the designer’s intended aesthetic.

Costume Department / Photo Credit: Don't Shoot the Costumer - Word Press

Monday, August 20, 2018

WHAT DOES A INTERACTIVE ART DIRECTOR DO? (In the Entertainment industry. What Does A Interactive Art Director Do?)

Gkess Animation / Photo Credit: Paradise in Motion - GKess

WHAT DOES A INTERACTIVE ART DIRECTOR DO? (In the Entertainment industry. What Does A Interactive Art Director Do?)

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

What Does A Interactive Art Director Do?

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.

Gkess Animation / Photo Credit: Paradise in Motion - GKess

WHAT DOES A HAIRSTYLIST DO? (In the Entertainment industry. What Does A Hairstylist Do?)

Hair Styling Equipment / Photo Credit: Dyson Hairdryers - Evening Standard

WHAT DOES A HAIRSTYLIST DO? (In the Entertainment industry. What Does A Hairstylist Do?)

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

What Does A Hairstylist Do?

Hairstylist / Hairdressers work closely with colleagues in the Hair, Make-up and Costume Departments, as well as with Directors, Actors and extras. They are briefed by Heads of Department (either the Make-up and Hair Designer, or the Chief Hairdresser) who provide them with detailed continuity notes for the characters they create. They work on principal and supporting Actors and, depending on the schedule, usually look after several Actors throughout the shoot.

Personal Hairdressers are specifically requested by one of the principal Actors to work exclusively on their hair, and they have autonomy within the department. They work closely with the Chief dresser, and are responsible for breaking down the script, all hairdressing requirements, and monitoring the continuity of hair for their own Actor, throughout each production. They attend any wig and/or hair piece fittings with their artists.

Daily Film Hairdressers (dailies) work on productions on a day-to-day basis, usually on large crowd scenes. In all cases, Hairdressers prepare performers' hair and scalp in advance, note any allergies or sensitivities and report them to appropriately qualified personnel. They may be required to use chemical solutions, and to administer hair and scalp treatments. They wash, cut, blow-dry and style hair, apply hair products and use techniques to create specific designs. They repair, alter and dress wigs and hairpieces.

They oversee hair continuity during shoots, accompanying their performers onto set. They standby during their scenes, touching up hair and redressing wigs between takes, and ensuring that continuity notes are maintained by taking length measurements and photographs. When the scenes have been shot, Hairdressers wash out products from, and condition, performers' hair. They remove wigs, and ensure that they are cleaned and prepared for further use. Hairdressers may be required to assist with any subsequent publicity shots.

Hairdressers are recruited onto films during pre-production and work throughout production, usually on a freelance basis. The hours are long and the job can involve long periods working away from home.

With the flick of a comb, a hairstylist can characterize, set a time period or even illuminate a theme. Successful hairstyles can evoke a sense of drama or even comedy. They can be tied to certain eras and even to certain celebrities. Because of this, it cannot be understated how important hair is to a star’s image, and subsequently, the films and television shows in which he or she appears. Just imagine the actor playing Wolverine with a Justin Beiber cut. To make sure that actors, actresses, and the characters they portray are properly done up according to the project’s needs, hairstylists are on the job.

Duties

The job duties of a hairstylist seem pretty straightforward: to take care of the hair of actors and actresses in film, television, and commercials by washing, drying, cutting, and otherwise styling. However simple this may seem, there are many intricacies that make the job slightly more involved than merely combing and brushing. Hairstylists work closely with the directors, as well as with makeup and costume departments, to help create a seamless image for characters through all their physical characteristics. They prepare the scalp and skin of actors and actresses, work with wigs, hairpieces, and extensions when needed, and often turn to chemicals and scalp treatments to achieve the desired hair effects. Another important part of the job is maintaining hair continuity throughout the shoot, which includes a great deal of touching and retouching during the shoot itself. Hairstylists work within the hair department and are often brought in during pre-production to determine how they will be performing their tasks during the shoot. Often, hairstylists will also work exclusively with the principal actors or actresses on the film, following them during the shoot to make sure their hair is always the way it needs to be. In addition to making sure an actor’s or actress’s hair is perfect for what is needed on set, the hairdresser also sees to it that all products, chemicals, and other funky do’s are washed away and dried at the end of the day.

Skills & Education

Hairstylists for film and television must first have strong skills. There are many cosmetology and beauty schools that give hairstylists the opportunity to learn and perfect their craft, and many film hairstylists get their starts in salons. Obviously, a talent for hair styling is paramount and this often necessitates knowledge of hair design, coloring, technology, and artistry. All are equally important to become a successful hairstylist. The ability to communicate well, understand directions, and work independently as well as on teams are also attractive qualities in a hairstylist. An eye for detail is one of the most critical requirements for hairstylists, since their work helps to define the image of the character, and thus must maintain continuity throughout the shoot, which is sometimes easier said than done.

What to Expect

Hairstylists can often expect to form close relationships with certain actors and actresses, since celebrities commonly develop loyalty to stylists who successfully manage their looks. Because appearance is such a vital part of an actor’s profession, their hairstylists must be aware of any allergies the actors and actresses may have to chemicals and be prepared to handle diva behavior. Then, of course, hairstylists also get the perk of high praise for making an insecure starlet feel confidently coiffed. Becoming a personal hairstylist for individual actors or actresses is not uncommon, and this is a highly coveted position that brings with it greater autonomy and with it greater success. As with many of the careers in makeup and hair, hairstylists can expect long hours on the set and lots of freelance work. The beauty of being a hairstylist for films is that when the shoot is over, you can always return to the salon and continue styling the hair of all the actors and actresses you’ve already impressed.

Hair Styling Equipment / Photo Credit: Dyson Hairdryers - Evening Standard

Saturday, August 18, 2018

WHAT DOES A GRIP DO? (In the Entertainment industry. What Does A Grip Do?)

Grip Alamo Filming / Photo Credit: Premium Beat

WHAT DOES A GRIP DO? (In the Entertainment industry. What Does A Grip Do?)

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

What Does A Grip Do?

Grips are the “make it work” people. They are trained in the art of pulling solutions out of thin air. The grip department, as its namesake indicates, is the keeper of the bag of tricks, and good grips have a gadget or gizmo for every potential need—or they can bend, twist, or cut something to work. Primarily the grip department is concerned with cutting light (the saying goes that electricians make the light and grips make the shadows) and facilitating camera movement. Grips also move set pieces, hang lights, lay dolly tracks, rig camera cranes, and spot camera operators.

In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support.

The term "grip" is from the early era of the circus. From there it was used in vaudeville and then in today’s film sound stages and sets. Some have suggested the name comes from the 1930s–40s slang term for a tool bag or "grip" that these technicians use to carry their tools. Another theory is that in the days of hand-cranked cameras, it was necessary for a few burly men to hang onto the tripod legs to stop excessive movement of the camera. These men became known as the "good grips"—as they were constantly being instructed to "keep a good grip on the tripod".

US grips typically belong to the International Alliance of Theatrical Stage Employees (IATSE). Canadian grips may also belong to IATSE or to Canada's other professional trade unions including Toronto's Nabet 700, or Vancouver's ACFC. British grips usually belong to BECTU (Broadcasting Entertainment Cinematograph & Theatre Union).

Grips work closely with the Director, Director of Photography (DoP) and the Camera Operator to make sure the position or movement of cameras is achievable.

They usually push the Dolly (the wheeled platform which carries the camera and the Camera Operator) with smooth movements that do not distract from the onscreen action.

On large projects with multiple cameras, the Key Grip is responsible for the main camera (camera A), with other Grips providing additional camera support.

Grips begin work in the later stages of preproduction, when they join all other Heads of Department to carry out a technical recce. If needed, Grips work with specialist companies to devise tailor–made pieces of equipment for difficult camera maneuver’s which are sometimes performed on location in extreme terrain and/or severe weather.

During shooting days, Grips and their team (which may include other Grips, a Remote Head technician, a Crane Operator, tracking car drivers, and all construction standbys) arrive on set early, unload all the equipment, and ensure that everything is prepared for the day's filming.

After the Director has rehearsed the actors and all the shots are choreographed, Grips set up any required equipment. Whenever a crane is used, at least two Grips are employed, working with the Crane Operator to mount and move the camera.

Grips should be ready as soon as the camera starts to roll, and they must anticipate all the camera moves, whilst also keeping in mind the preparations required for the next camera set–up. At the end of each day's shooting, Grips oversee the packing up of all camera–support equipment.

Grips are usually asked for by the DoP or the Camera Operator. Although the work is physically demanding and the hours are long, it can be very rewarding. Many Grips work on both commercials and features.

Duties

A grip can be specialized, like a dolly grip or crane operator, or a generalist. In either case, the grip answers to the best boy grip and key grip. A set ops grip helps achieve desired lighting conditions by setting flags and bounces. Larger productions will have a specific technician (the dolly grip) responsible for operating the moving camera platform (the dolly). Rigging grips assist in the setup of lighting effects, work with the leadsman under the direction of the construction coordinator on scenery and sets, and pre rig camera and crane setups. During photography this person works under the direction of the key grip.

Maintenance, repair, and inventory control of grip department gear—C-stands, chromakey backdrops, flags, plates, cable, jibs, and track—is the job of the best boy grip (or, on smaller productions, the second grip). An entry-level grip is someone with a general knowledge of the department who is capable of stepping in to any of the roles under the best boy grip, and helps out where needed—loading and lugging gear, building catwalk, flying drops, striking setups.

Most important, though, the grip department is responsible for the safety of all rigging on the set. The lights hanging overhead, the backdrops balanced behind the actors, the cameras in midair, ramps stunt performers launch themselves off—grips rig all of these, and everyone on the set puts their trust in this crew’s careful work.

Skills & Education

A film and television production degree is not required, though training is a must. Grips are responsible for hundreds of pieces of equipment; production courses are worth it just to learn the terminology. If you don’t know the difference between a cucoloris and a floppy meat axe, maybe you should consider taking a few courses in production process and cinematography. Most universities and community colleges offer film/TV programs, IATSE has a limited-access apprentice program, and industry workshops can offer a preliminary introduction to the duties of the grip department. A grip should be mechanically inclined and understand electricity, lighting, and color. Many working grips have a professional background in commercial or residential construction, and they must have extensive safety training.

What to Expect

This crew does a lot of heavy lifting and manual labor. Safety is always the first priority for a grip; if a crane or set piece comes down, the key grip may face serious legal consequences. You must be comfortable with long hours, travel, and working in all weather conditions. The charisma to develop good working relationships with all types of people is imperative for this freelancer. Most of all, a strong work ethic is a must—the lazy need not apply. Grips are right in the thick of the production process and have significant opportunities to work closely with DPs, ADs, and other production staff. A grip with a hefty résumé of credits can move up to become best boy grip, key grip, or eventually a DP.

Grip Alamo Filming / Photo Credit: Premium Beat