BBB Research Analysis Development Company & Dumb Dog Productions LLC: October 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/

Tuesday, October 23, 2018

WHAT DOES A SHADING/LIGHTING TECHNICAL DIRECTOR DO? (In the Entertainment industry. What does a Shading/Lighting Technical Director Do?)

Deferred Shading / Photo Credit: Learn OpenGL

WHAT DOES A SHADING/LIGHTING TECHNICAL DIRECTOR DO? (In the Entertainment industry. What does a Shading/Lighting Technical Director Do?)

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

What does a Shading/Lighting Technical Director do?

Shading/Lighting Technical Director

A shading/lighting technical director is a crucial versatile member of the CGI team who adds surface qualities to objects: adding depth to sets and characters with shadows, as well as light to provide illumination that helps accentuate the mood and emotion of a scene. Many shading/lighting technical directors also spend a great deal of time writing programs and code to be used during the rendering process.

Lighting TDs/Lighters make sure there is consistency in lighting, color balance and mood between the various elements of a shot or scene. When appropriate, they ensure the computer-generated imagery looks photorealistic to match the live action plates.

Lighting TDs/Lighters add the lighting that creates atmosphere, increasing realism, tone and depth in a scene and clarifying location, weather and time of day. They balance individual elements to enable the compositors to produce a convincing image. They refer to the production designs and apply that visual style as faithfully as possible, taking care to maintain continuity.

They match technical skill with aesthetic judgement to create images that not only look good but are easy to render (i.e. output; translating computer data into images).

On some projects, they may be involved in the research and development of different effects for the Art Director or Lighting Supervisor. In a large company or on a larger project, they are often part of a team, but they need to be able to work with a minimum of supervision, understand the tools available and know how to use them to create the desired effects. On smaller productions, the role of Lighting TD/Lighter may be combined with that of Modeler or Texture Artist.

Lighting TDs/Lighters need to work closely with the rendering and compositing departments to understand what is required at the next stage and ensure their material is easy to use and delivered on time.

On smaller projects, lighting is a fundamental skill required by generalists who cover more than one role. On larger productions, there is likely to be a team of dedicated Lighting TDs/Lighters.

In many companies in the UK, particularly facility houses, Lighters are called Lighting TDs (Technical Directors) and can work their way up through the lighting department, starting from Junior TD. In feature animation, they are known as Lighters or Lighting Artists.

Duties

The main duty of the shading/lighting technical director is to make sure that effects look as good as possible with the available resources and to guide all areas of production shading and lighting. Shading/lighting directors develop and implement the appearance of texture and color of objects, creating shadier code in rendering software for CG in a variety of ways, including 3-D paint and regular texture painting. It is the duty of shading/lighting technical directors to write tools to facilitate lighting and shading rendering techniques so that shots can maintain the highest standard and continuity as required in the pipeline. Shading/lighting directors work from references that may be from paintings, drawings, photographs and film, as well as actual reference objects and locations, though they can also create with only verbal or written descriptions. These technical directors will work with a variety of different departments, including modeling, art, digital paint, and lighting, so knowledge of the requirements and processes of each department, as well as clear communication through the pipeline, should be priorities of every shading/lighting technical director.

Skills & Education

The highly technical and artistic nature of this position makes it one that requires extensive education and experience. While knowledge of basic artistic concepts like shading and composition are a good foundation, an education in computer science, mathematics, or engineering are just some of the degree programs that many shading/lighting technical directors pursue. The leadership aspect of the job also requires that candidates possess at least minimum a few years of experience in visual effects or equivalent work before becoming shading/lighting directors. Coding, procedural shading, and software knowledge is an absolute must, and shading/lighting technical directors commonly write surface, light, displacement, and volume shades for rendering software such as Renderman, Mantra, and Mental Ray. Many companies require knowledge of C/C++, Python, and PyQt, as well as familiarity with professional graphics packages such as Maya, Nuke, HDK, Liquid, and Shake, among others; it is also advisable to keep up on the changes in technology, as it evolves at a rapid pace. In the end, while artistry will go a long way for a shading/lighting technical director, technical proficiency and knowledge of the rendering process are crucial to the job.

To do this role, you will need to:

Ensuring there is consistency in lighting, color balance and mood between the various elements of a shot or scene…
Making sure the computer-generated imagery looks photorealistic to match the live action…
Adding the lighting that creates atmosphere, and adds realism, tone and depth to a scene…
Have a strong sense of light and shadow demonstrated by artwork, photography, theatre, film or CG work…
Have knowledge of color theory, including through art history knowledge…
Be able to follow design reference and have sympathy with wide range of styles…
Be able to light characters and environments, interior and exterior, different times of day, etc…
Have an understanding of composition and the ability to enhance mood by lighting…
Have a good working knowledge of computer animation packages, particularly Maya…
Have a good working knowledge of 2D paint software and various industry-standard rendering programmers, such as Renderman and Mental Ray…
Have good working knowledge of palettes and cluts (Color Look up Tables)…
Be able to do UV mapping…
Have a good understanding of math’s and physics…
Understand the principles of cinematography including depth of field, density, use of filters…
Have good problem-solving skills…
Be able to work with a minimum of supervision…
Be able to function as team leader, if required…
Have good communication skills…
Have good team-working skills…
Be able to take direction and be willing to address constructive feedback…
Be able to deliver on schedule, working calmly and efficiently under pressure…
Show respect for the procedures and requirements of a particular studio, production or pipeline…
Have knowledge of the requirements of the relevant health and safety legislation and procedures…

What to Expect

Shading/lighting technical directors can expect to work in a variety of different stages during a production, but will spend most of the job in rendering. Computer scientists are more suited to the job than the solely artistic type, so if you want a more artistic job in visual effects may want to consider another career; however, a career as a shading/lighting technical director still gives you a great amount of artistic and creative freedom, provided you know how to write the shadier programs and work in almost every operating system there is. Depending on the project, a shading/lighting technical director may need to write just a few lines of shadier code or a dozen pages’ worth, so a comfortable computer chair is recommended, though not always provided. However, after a few years and a few successes as a shading/lighting technical director, you can be sitting pretty in almost any chair you like.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Deferred Shading / Photo Credit: Learn OpenGL

Monday, October 22, 2018

WHAT DOES A SET WIREMAN DO? (In the Entertainment industry. What does a Set Wireman Do?)

Tool Electrician Kit / Photo Credit: Klein Tools

WHAT DOES A SET WIREMAN DO? (In the Entertainment industry. What does a Set Wireman Do?)

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

What does a Set Wireman do?

Set Wireman

Not everything you see on screen is a trick; sometimes flipping a switch to turn on a light is just that simple. Just like an electrician wires a house, film and television sets can include practical wiring. Practical set wiring refers to any electrical apparatus seen on-camera that is actually used, like a table lamp that turns on or a working blender. All power being delivered to the production facilities—for example, to the costume trailer or craft services area—also falls under the domain of practical wiring.

Duties

The set wireman, known as such whether male or female, is responsible for all practical set wiring on film and television productions. This person works under the direction of the gaffer (aka the chief lighting technician) and in collaboration with the generator operator to provide electricity to all departments on location during pre-production and principal photography. He or she is tasked with installing all on-camera electrical fixtures, including the pre-wiring of scenery, sets, and props. This will also require the set wireman to work closely with the property master, set riggers, and grips to plan for wiring time in the shoot schedule, and to ensure the wireman has access to the sets or props to be given power. As instructed by the gaffer, the set wireman may assist in other lighting or electrical setup.

Skills & Education

A college degree in film and television production is recommended but not required for this role; training should include concepts of electrical engineering, high-voltage safety, set construction, and production lighting. This position demands that the technician have an expert-level understanding of electricity and proper wiring standards, as well as a familiarity with power distribution systems and generators. Some productions may require that the set wireman be a licensed electrician as dictated by state or local law, so attaining certification is prudent. This is the job for a tinkerer who enjoys taking gadgets apart and making experimental modifications to home appliances. Often the set wireman is expected to devise ingenious, crafty solutions to impossible problems on a short deadline, so clever problem solvers who thrive in hectic situations are a perfect fit.

What to Expect

The position of set wireman is a freelance, midlevel job that requires some professional experience in film and television production and/or commercial electrical engineering. Prior employment history as an electrical contractor is applicable to this role. On the production side, work as a set lighting technician or generator operator can lead to securing a gig as a set wireman. Technicians in this vocation are eligible to become members of the International Alliance of Theatrical Stage Employees, the union that represents artists and technicians in theater, film, and television. Membership in unions, guilds, or other associations is an excellent method of networking, learning about potential gigs, and furthering your reputation within the industry.

Tool Electrician Kit / Photo Credit: Klein Tools

Sunday, October 21, 2018

WHAT DOES A SET LIGHTING TECHNICIAN DO? (In the Entertainment industry. What does a Set Lighting Technician Do?)

Set Lighting / Photo Credit: Ampco-Flashlight

WHAT DOES A SET LIGHTING TECHNICIAN DO? (In the Entertainment industry. What does a Set Lighting Technician Do?)

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

What does a Set Lighting Technician do?

Set Lighting Technician

Electrical lighting technicians (ELT) or simply lighting tech., are involved with rigging stage and location sets and controlling artificial, electric lights for art and entertainment venues (theatre or live music venues) or in video, television, or film production.

Lighting technician is a job with many different titles, but it’s one of the most vital to film production. Set lighting technicians (also known as electricians, lamp operators, or juicers) do more on set than flip a switch. Instead, they operate the hundreds of lights and run the miles of cable necessary to set the look of a scene and illuminate the action.

Duties

Lighting technicians are responsible for the movement and set up of various pieces of lighting equipment for separation of light and shadow or contrast, depth of field or visual effects. Lighting Technicians may also lay electrical cables, wire fixtures, install color effects or image patterns, focus the lights, and assist in creating effects or programming sequences. A lighting technician's work concerns safety of rigging and working with objects which can be very heavy and get very hot.

Working under the supervision of the gaffer and best boy, the set lighting technician is responsible for running electrical cables for set lighting and hanging or mounting fixtures. This includes focusing instruments and changing lamps as necessary. Additional tasks may include cleaning and basic repair of instruments, attaching gels and other accessories, and lugging gear from one setup to the next. Set lighting technicians do most of the heavy lifting in the lighting department.

Skills & Education

A college degree in film and television production is recommended (though not required) for set lighting technician; it is the most comprehensive education toward a career in the lighting department. What is necessary is hands-on experience with theatrical and film lighting equipment and a thorough understanding of electricity. You should know how to operate and maintain the gear, but also understand the theoretical principles behind set lighting and the quality of illumination produced by each instrument or technique. An entire semester of school could be taught just on grip and lighting terminology alone, so study up before you find yourself staring blankly at the best boy your first day on the job.

What to Expect

Set lighting technician is the most entry-level position in the lighting or electrics department, but does require experience. Preparation as a grip, production assistant, set intern, or in an equipment rental house is valuable, as is amateur work on independent or student films. The more time you have on set and with the gear, the better prepared you will be for a professional gig. A typical workday is at least 12 hours long, and the pace of production can be intense. There is little time to adjust or patience for your learning curve: You are expected to arrive on time, do you job quickly and correctly the first time, and do it with a smile. Those who prove themselves skilled and display a strong work ethic will be noticed, and your next gig will almost certainly come from someone you previously worked with. Networking and making a good impression counts—it will keep you employed. At least three to five years of professional experience as a lighting technician will prepare you for advancement to the role of best boy electric, and eventually you can work your way up to gaffer.

Set Lighting / Photo Credit: Ampco-Flashlight

WHAT DOES A SET DRESSER DO? (In the Entertainment industry. What does a Set Dresser Do?)

Set Dresser / Photo Credit: 90 Seconds

WHAT DOES A SET DRESSER DO? (In the Entertainment industry. What does a Set Dresser Do?)

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

What does a Set Dresser do?

Set Dresser

Set dressers arrange objects on a film set before shooting. They work under the direction of a leadman and the Set Decorator. Set dressers place furniture, hang pictures, and put out decorative items. They are also responsible for some light construction and assembly of small items, such as air-conditioning ducts. They also move items as necessary to make room for the filming equipment. During the shoot, the prop department works with an on-set dresser to ensure that the props and furnishing are in the proper location for the script and to maintain continuity, as scenes are often shot out of order.

No matter how impressive the set or visual effects, the scene does not feel organic without set dressings; these include tables, chairs, utensils, and anything else that occupies a scene (but the actor doesn’t touch) that makes a space feel lived in and realistic. To assist in bringing the set to life, set dressers are tasked with implementing the set decorator’s design.

Duties

The set dresser on a movie is responsible for making the location of every scene look convincing. This may sound easy, but in the magical (i.e. fake) world of movies, this can mean turning a dilapidated warehouse into a swinging 1960s nightclub, or a sunny California bungalow into a “snow”-covered French cottage. One of the set dresser’s primary responsibilities is to select the props that will decorate every scene. If it’s a period film, it’s especially important to be historically accurate, often down to the year that any given product came on the market. (Found a great vintage coffee pot that came out in 1965, but your movie takes place in 1964? Dump it–or face the online wrath of eagle-eyed movie-goers everywhere.)

Before any props are purchased, the set dresser will first often do research on the period and location in which the movie takes place. He or she will also confer with the director and others in the art department to understand the visual style and look of the film. It’s important that set dressers have an eye for style and design, as they will be selecting many of the objects that decorate the world of the film. (Because of this, it’s extremely important that the set dresser can keep to the budget.) Once the movie starts shooting, the set dresser will actually “dress” each set, placing the props in the right places. If there are any highly valuable props that have been borrowed, such an antiques or expensive jewelry, the set dresser is responsible for obtaining security to ensure they don’t get snagged.

The set dresser works under the supervision of the set decorator and lead dresser, and is responsible for the pickup and transportation of set décor, to ensure it arrives at the filming location, as well as the maintenance and repair of décor items. As per the instructions of the set decorator, the dresser will prepare and place dressings on set during principal photography. This position differs from that of the on-set dresser, who is tasked with moving decorations and props to accommodate the lighting and camera crews during shot coverage. The set dresser is only responsible for décor items in the initial setup of the scene. When production has concluded, the dresser will assist in returning rented items and clearing the inventory.

Skills & Education

A set dresser must have an artistic eye and also be knowledgeable about the production process. Specifically, it is important that the dresser understand how the décor and prop departments collaborate within the larger art department. Additionally, practical knowledge of researching and sourcing rental items is valuable. The dresser should know every prop house in town and quickly be able to recall where the decorator saw that rug she loved. In performance of the job, the set dresser must be attentive to instruction and highly organized. A particular college degree is not required, though majors in film and television production, theatrical design, or interior design are relevant and helpful in this career.

What to Expect

The cliché of “hurry up and wait,” is perhaps most apt to describe the pace of the décor department. Prior to filming, the dressers are in a rush to get the hundreds of items in place and camera-ready. Once the scene is set, there could be hours of sitting around to wait for the next setup. There isn’t much room for creative freedom in this role. On the job, set dressers put this here and move that there. However, rookies must put in the time in order to advance to senior-level roles. The good news is that a promotion may not be that far off.

Unlike the fields of camera operation and lighting, the art department tends to offer a faster track to the senior-level. What is most important in furthering your career is developing positive working relationships with your supervisors. Crew leads often recruit from their existing crews when preparing for a new project. Eventually, an opportunity will arise to take on a lead dresser or set decorator role. In fact, those gigs can be referred to you when a colleague can’t take the gig or the department head has to be replaced mid-production.

Set Dresser / Photo Credit: 90 Seconds

Saturday, October 20, 2018

WHAT DOES A SET DESIGNER DO? (In the Entertainment industry. What does a Set Designer Do?)

Set Designer Scale Model of Set / Photo Credit: University of South Wales

WHAT DOES A SET DESIGNER DO? (In the Entertainment industry. What does a Set Designer Do?)

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

What does a Set Designer do?

Set Designer

A set designer is in charge of designing and creating the sets that appear in films, on television programs as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff. The role is a slightly unique combination of creativity and practicality, as you have to conceptualize an idea, design it and then do your best to make it a reality with the team of people around you.

Audiences don’t usually spend much time wondering if a particular scene of a film or television show was shot on location or created on a sound stage, and that’s the way it should be. Set designers that create elaborate and visually stunning scenery leave an impression on admiring viewers, but the subtle sets that seamlessly create a believable environment inside of a sound stage are noteworthy for holding the suspension of disbelief.

Duties

Rough drawings and ideas from the production team are taken and turned into realistic builds that include scenery, draperies, furniture, and props. Set designers often work with directors, producers, costume designers and other crew members. The set designer works within the art department under the supervision of the production designer and art director to help realize the director’s vision for the scenery of a film or television show. Based on the script, the director and production designer—often aided by a concept artist or illustrator—go through a process of visualization to design sets that must be built for the production. Through iteration, those design concepts are refined. Following approval of the final sketches, the set designer is responsible for translating production designer’s drawings to architectural blueprints that detail how the sets are to be constructed. He or she must establish the true dimensions of the sets and how multiple pieces must fit together, taking into account structural stability and production requirements for the crew and equipment.

Skills & Education

A set designer working in film and television production requires the same training and skill used by scenic designers in live theatrical entertainment. Expertise in traditional construction methods and those standard within the production industry is essential, as is a firm grasp of basic physics and mathematics. Like residential and commercial architects, set designers typically use computer-drafting software like AutoCAD to aid in drawing construction schematics, or blueprints. A college degree is not always required, though an education in film and television production or theatrical design with a concentration in scenic design is recommended. Set design, like many of the entertainment trades, is a skilled artistic craft that requires an individual with talent and experience.

What to Expect

A set designer will typically read a script many times over, both to get a feel for the style and tone of the script and to make a detailed list of requirements for scenery, furnishings and props. Meetings with the director and the design team are usually scheduled to discuss the details of the set and the director's interpretation of the play. The set designer's main goal is to figure out everything that may be needed based on the dialogue in the script. When all is said and done, the set will hopefully create the correct mood and atmosphere, and be able to give the audience clues as to the time of day, location, season, and historical period.

After reading the script, the set designer will produce plans, drawings and miniature three-dimensional models of the set. Floor plans are drawn to scale showing from above the layout of each set and the placement of the furniture and large props. Front elevations are also given to show a view of the set from the front and to show details like windows or platforms. These visual aids help to make sure that all involved in the production process understand each other.

Employment opportunities exist within scenic design shops that cater to the entertainment industry and at shops operated on-site at motion picture studios. Set designers often move into freelance work after having trained as an apprentice under a master designer and established their credentials through numerous professional projects. On the job, working conditions will vary greatly, depending on the production schedule. Hours can be highly irregular, dependent on the deadlines set to begin principal photography. The process of a film’s pre-production is different in many ways from that of a television series. In television, the set designer will work on a revolving schedule, repeating his or her design process for each episode that might demand new sets. He or she must be flexible and able to adapt to changing circumstances. Most important is the ability to collaborate and work effectively with others to achieve the highest possible quality of product.

Set Designer Scale Model of Set / Photo Credit: University of South Wales

Friday, October 19, 2018

WHAT DOES A SET DECORATOR DO? (In the Entertainment industry. What does a Set Decorator Do?)

Hotel American Horror Story / Photo Credit: Travel Leisure - American Horror Story

WHAT DOES A SET DECORATOR DO? (In the Entertainment industry. What does a Set Decorator Do?)

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

What does a Set Decorator do?

Set Decorator

The set decorator is the head of the set decoration department in the film and television industry, responsible for selecting, designing, fabricating, and sourcing the "set dressing" elements of each set in a Feature Film, Television, or New Media episode or commercial, in support the story and characters of the script. The set decorator is responsible for each décor element inside the sets, from practical lighting, technology, art, furniture, drapery, floor coverings, books, collectables, to exterior furnishings such as satellite dishes, Old West water troughs, streetlamps, traffic lights, garden furniture and sculptures.

While the Set Decorator provides all of these elements, the Prop master provides elements that are handled by the actor. For example: a library is decorated with set dressing such as the furniture, books, desk lamp, blotter, framed photos, personal effects, letter trays, letter opener, papers, paper files. The Prop master provides the props – the letter the actor is opening and reading, the pen he writes with, and the ink into which he dips his pen.

The set decorator is responsible for converting the blank canvas of the set into a space that feels authentic, lived-in, and believable. This artist deals in the details, the small touches that reveal to the audience something about the person or people who occupy the locations of films and television shows.

Detailed description of the role of the set decorator

Set Decorators are a Key Department Heads, hired by the Producer for their creative talent to implement the visual interpretation of the script and its characters; and for technical skills and expertise in project management including budgeting, scheduling and organizing the Set Decoration Department staff.

Working in partnership with the Production Designer, the Director, and the Producer, the Set Decorator researches, budgets, designs and presents set decorating concepts for each set in the script.

Creatively, set dressing elements convey mood, style, time period, location, genre, character, and backstory, and shape the visual imagery of the project. Working with concepts from the Production Designer, approved by the Director/ Producer and Studio, along with drawings and illustrations from the Art Department, the Set Decorator budgets, designs, develops floor plans, sources, builds, schedules and eventually supervises the installation of the set dressing in each set, including industrial equipment, lighting fixtures, graphics, furniture, artwork, drapery, decorative accents, florals, floor coverings, and exterior décor to support the story.

Whether on Feature Films, Television shows, Commercials, Webisodes, or emerging media formats, this work of developing, selecting, and providing the dressing elements of the set is under the direct supervision of the Set Decorator.

The script breakdown

The Set Decorator begins each project by breaking down the script. This entails analyzing all scenes of the project, dividing them into sets, and detailing requirements. Each set has a creative concept behind it, partially described in the script and further developed by the Set Decorator in consultation with the Producer, Director and Production Designer.

Each set breakdown evolves into a series of lists of set dressing elements, all of which are budgeted, designed built and sourced. The production schedule and production budget delineate how these lists are achieved.

Duties

Working in collaboration with the production designer, the set decorator is responsible for furnishing interior and exterior sets for film and television. All of the large or small items that fill a room or outdoor area but are not handled by the cast (props) are selected by the set decorator to enhance the visual realism of the scene; these objects include furniture, drapery, knickknacks on a shelf, and even trash cans or street cones outdoors. The process begins with pre-production meetings with the director, production designer, director of photography, and other design department heads; there the creative team discusses the visual style of the production, including lighting, costumes, and other design elements, which are pivotal to establishing the overall aesthetic as envisioned by the director. With this information in mind, the set decorator works closely with the line producer to prepare a department budget that outlines estimated expenditures for purchase or rental of set dressings and necessary labor; it will be the task of the set decorator to monitor this budget on a daily basis and keep records of receipts.

In planning the set dressing design scheme, the decorator researches the time period, genre, and setting of the story and prepares a script breakdown that will detail each object required to dress the scene; before shooting begins, this person will present drawings, inspirational material, and color swatches to the director and production designer for approval. When given the green light to proceed, he or she will then work with the set buyer to track down and acquire items, then carefully catalog each object by scene and shooting date. When specialty items are not available for rental or purchase, the set decorator will design and order the fabrication of specialty pieces; he or she will routinely work with sculptors, illustrators, graphic designers, and other artists to create original items. During principal photography, the decorator is on set to supervise the work of the on-set dressers and swing gang, and is available to the director to make alterations for the design as needed.

Skills & Education

An education in theatrical design is beneficial even to artists working in television and film, as it teaches you the fundamentals of stagecraft, prop making, story analysis, and the techniques of bringing an artificial environment to life. A college degree in film and television production is also helpful. Courses in art history and interior design are invaluable to a set decorator, but you should also consider studying world history, engineering, landscaping, visual merchandising, psychology, and urban planning, as elements all of these come into play when visualizing the details of a character’s life. Most of all, you should be someone who not only wonders what Lincoln’s toothbrush looked like or whether we will use silverware in the year 3010, but enjoys coming up with a good answer.

What to Expect

Experience in interior design is excellent preparation for a career in set decoration, but prior work in entertainment production is required. Those who have advanced to this senior-level role have previously served as props technicians, prop masters, scenic carpenters, or in other production crafts. Within the set decoration department, entry-level positions exist on the swing gang, the crew of set dressers who transport and place furniture and accessories (“set dressing”) on a set before the shot and hustle it off afterward. With a few years of productions under your belt, you will have made the professional connections necessary to move up the chain of command to gang boss, leadman, set buyer, or assistant set decorator. Membership in the Set Decorators Society of America offers opportunities for networking and further education in the craft through industry seminars and research resources. Professionals in this field are eligible for membership in the International Alliance of Theatrical Stage Employees, the union that represents artists and technicians in theater, film, and television.

Hotel American Horror Story / Photo Credit: Travel Leisure - American Horror Story

Thursday, October 18, 2018

WHAT DOES A SET DEC CREW DO? (In the Entertainment industry. What does a Set Dec Crew Do?)

Set Dec Crew / Photo Credit: Jon Gary Steele - Stuart Bryce - Twitter

WHAT DOES A SET DEC CREW DO? (In the Entertainment industry. What does a Set Dec Crew Do?)

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

What does a Set Dec Crew do?

Set Dec Crew

The set decoration crew, known colloquially as the set dec crew, are the junior members of the set decorating department and begin work during pre-production of a film or television show. The number of technicians required on the crew will be determined by the scale of the production and number of different sets to be dressed.

The Set Decorator selects, acquires, and oversees designs and builds for all the set dressing, He or she supervises the Assistant Decorators and Buyers as they source elements, and gives final approval to all choices.

Once the set dressing is prepared, the Lead person supervises the transportation of all elements to the sets. After delivery to the stage or location, the Set Decorator directs the Set Dressing crew in the decoration of the set, following Safety Guidelines, IATSE Union Contracts and industry past practice. The Leadman and Dressing crew work as a team within compressed schedules and side by side with Art Direction, Construction, Locations, Paint, Set Lighting, Grip, and Special Effects. Set maintenance plays a large part for long-term sets for many films and TV shows.

Duties

Hired by the set decorator or assistant set decorator, the crew may first be tasked with transporting purchased or rented set dressings to the shooting location and then carefully inventorying all items. During principal photography, these individuals will take instruction from the department head in placement and preparation of dressing objects on set and are responsible for tracking items as they are removed from the department storage area. Where necessary, the set dec crew is tasked with maintenance of inventory items, to include cleaning, repairing, or replacement of objects. At all times, the crew is concerned with maintaining the set decorator’s artistic vision as well as with the efficient operation of the department. As delegated, the set dec crew may perform other tasks such as assisting in continuity for shoots. At the conclusion of filming, the crew will be instructed to strike all set dressings from the studio or location and will be supervised through the process of final inventory and return of all rented items.

Skills & Education

Members of the set dec crew are required to have at least a high school diploma, though a college degree in film and television production or theatrical design is preferred. Courses in fine art, photography, art history, and world culture are all important to this career field, as those in the set decoration department should have an appreciation of aesthetic, design, and numerous styles. Today, you may be dressing a college dorm room in New York, but tomorrow, the gig may be accurately recreating the interior of a 15th century monastery in Spain. Members of this crew should be highly organized and meticulous in tracking the hundreds of items in inventory. The position requires an individual that takes direction well and who can work under minimal supervision to complete tasks on a specified deadline.

What to Expect

Those interested in advanced roles within the set decoration department such as on-set dresser or set buyer should begin on the set dec crew. There, you will gain the hands-on knowledge of working on a production set and learn how the department operates. You also have the benefit of seeking the mentorship of established veterans and making the contacts necessary to further your career. Positions on this crew may be available without prior professional experience, though previous employment in film and television production is beneficial. Experience as a production assistant or on the props crew is applicable to this position.

Set Dec Crew / Photo Credit: Jon Gary Steele - Stuart Bryce - Twitter

Wednesday, October 17, 2018

WHAT DOES A SET COSTUME SUPERVISOR DO? (In the Entertainment industry. What does a Set Costume Supervisor Do?)

Outlander Costumes / Photo Credit: Outlander - Nerdist - Paley Center

WHAT DOES A SET COSTUME SUPERVISOR DO? (In the Entertainment industry. What does a Set Costume Supervisor Do?)

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

What does a Set Costume Supervisor do?

Set Costume Supervisor

Responsible to the Designer - Assists in establishing budget, oversees expenditure and all related paperwork - Sets up and supervises workshop - Is responsible for rental inventory - organizing background performers fittings – Transportation to and from set of costumes and supplies – communicates with AD department – Coordinates communication within department.

It is rare that a costume designer works on location with the production crew during principal photography. More often, the costume designer designates a surrogate that will execute the design on set and provide leadership for the costume department.

Duties

The set costume supervisor acts as the costume designer’s chief representative on set during principal photography. He or she is responsible for managing the crew of costume dressers (performer’s costumer) and truck costumers and for maintaining the integrity of the designer’s vision by seeing that all pieces are worn as intended. During pre-production, this person will assist with the script breakdown to identify all necessary wardrobe elements and will keep a detailed catalogue of all garments assigned by character and scene number. On set, the supervisor is in charge of inventorying costumes as they arrive to the shooting location and instructs additional crew on properly labeling and sorting the clothing, in addition to properly supplying the equipment truck. Before an actor steps in front of the camera, this person will oversee the layout of costumes in a camera-ready fashion and is responsible for maintaining continuity of garments. At the conclusion of shooting, the set costume supervisor will organize wrap-up of all costume-related elements and will coordinate with the costume buyer or other assigned personnel to return garments. It is possible that where an assistant costume designer or costume supervisor is not employed, the set costume supervisor will undertake the duties assigned to that role during pre-production.

Skills & Education

A college degree in film and television production, theatrical design, or fashion design is applicable to this career. Universities with such programs may offer specific courses in costume design or costume department supervision, which are beneficial to this position. Practically, it is encouraged that the set costume supervisor has some background in design, as well as understanding the production process. Expert sewing and garment construction skills are essential. Additional courses in fine art, drawing, photography, and related areas will help to train your artistic eye. Formal training in the concepts of color theory and lighting for film and video can help to educate you in how colors, textures, and fabrics appear differently when photographed. Working on a film or television set can be hectic and demanding, therefore this role demands an individual who is highly organized, meticulous, and an effective manager of his or her crew.

What to Expect

Previous professional experience in the costume department of a film or television production is required for this role. In seeking out an entry-level position from which to build your career, you can consider working as a stitcher, breakdown artist, or tailor. However, if your aspirations are geared specifically toward working on set, then concentrate your efforts on findings gigs as a costume dresser or costume production assistant. Most work within the costume department is freelance, though permanent positions may be available in the wardrobe department at a major motion picture studio or with the independent company of an established costume designer. In hunting for jobs, you can contact the production office of shows in pre-production to inquire about availability, though networking is the best path toward a gig. Membership in guilds and associations related to production costuming are an excellent way to meet other professionals and build your personal network.

Outlander Costumes / Photo Credit: Outlander - Nerdist - Paley Center

Tuesday, October 16, 2018

WHAT DOES A SET BUYER DO? (In the Entertainment industry. What does a Set Buyer Do?)

Sherlock Holmes Set / Photo Credit: John Hartill - Sherlock Holmes Series

WHAT DOES A SET BUYER DO? (In the Entertainment industry. What does a Set Buyer Do?)

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

What does a Set Buyer do?

Set Buyer

As the title states, the set buyer is a professional shopper tasked with searching antique shops and rental houses and scouring yard sales and online auction sites for the props and set dressings that transform a bare set into a convincing environment.

Duties

The set buyer works under the direction of the set decorator, and is brought on board during preproduction. This person’s first task is to carefully review the script to identify all action props (objects specifically mentioned in the script) and dressing required. After the set decorator approves this list, the buyer contacts prop houses and other vendors to check on the availability and cost of each item. This can be a time-consuming process, especially difficult when unusual or specific antique items are needed. Buyers bring in props from all over the world to satisfy a shopping list that could include thousands of individual pieces.

With the information gathered from the fact-finding stage, the set buyer meticulously calculates a budget based on the shooting schedule, rental periods, and purchases. Great care must be taken to plan delivery and return dates to ensure that no props are kept longer than necessary, thereby minimizing expenses. A weekly itemized budget is given to the production accountant. During principal photography, the set buyer spends most of his or her time in the production office checking up on deliveries, confirming returns, and hunting down last-minute additions. This position is also responsible for the art department’s petty cash fund, and must reconcile all spending after production has wrapped. On a low-budget project, the set buyer may also serve as the assistant set decorator.

Skills & Education

There is no standard training for this position, but a set buyer should have an education in film and television production, theater, or art history; coursework in basic accounting and asset management may also be helpful. Experience in one or more areas of a production art department is required. The person in this role should have excellent organizational skills and a keen attention to detail. Also crucial is the ability to methodically maintain strict schedules and budgets involving large inventories. Aside from the process-oriented side of the job, it’s a good idea to develop your knowledge of design and décor by taking classes in art history or interior decoration, studying art and design books in the library, and poring over shelter magazines and interior design blogs.

What to Expect

The set buyer’s value is measured in his or her ability to locate the hard-to-find items and perfect pieces that enhance a set’s realism. When this person signs on to a production, he or she makes a promise to deliver on every prop the production needs. There is no excuse for coming up short. The pressure can be high, hours long, and travel frequent. You will rely on a hefty list of contacts at antique shops, prop houses, and other retailers to meet the production’s inventory needs; be sure to cultivate relationships with dealers, and they’ll be sure to set aside that perfect Danish Modern credenza or set of Georgian silver candlesticks for you. Staying organized is key. At any given moment you may have hundreds of shipments coming in and out of the office. The set buyer is ultimately responsible for making sure that all props and dressings arrive on time, to the right location, and are returned as scheduled. With experience you can advance to the role of set decorator, or other positions under the production designer’s aegis.

Sherlock Holmes Set / Photo Credit: John Hartill - Sherlock Holmes Series