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

Interior Sketch / Photo Credit: Jean Vincent – Pinterest - Michael Haneke

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

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

Art Director in Motion Picture Production

Though art direction has been an integral part of the filmmaking process for more than 100 years, the craft is not well understood—even among those working in the industry. For many years, these artists and their contributions were underappreciated, but more recently, the skill and talent of these professionals have been better recognized through negotiation for prominently displayed credit and the inclusion of the category in popular award shows.

Art Directors act as project managers for the biggest department on any film - the art department. They facilitate the production designer's creative vision for all the locations and sets that eventually give the film its unique visual identity. Art Directors are responsible for the art department budget and schedule of work, and help the production designer to maximize the money allocated to the department. Art Directors are usually requested by the production designer, and are responsible for the assistant art director, the draughtsman* (as many as 20 draughtsman may be employed on big budget films), the art department assistant(s) and all construction personnel. As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work. Many Art Directors work on television dramas and commercials, as well as on films. The hours are long and the job can involve long periods working away from home. Art Directors work on a freelance basis.

On big budget films, Art Directors start work up to 4 to 5 months before shooting begins (on low budget films 8 weeks may be sufficient). When the final schedule is delivered (detailing the precise order of scenes in which the film will be shot), Art Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyze the script to identify all props or special items that may require longer lead times. Simultaneously, a team of draughts men draw up numerous plans for sets and locations for use by Art Directors when working with the construction managers and their team. This is an extremely busy, pressured time for every member of the art department; as well as coping with this pressure, Art Directors must also tightly control the budget (which is prepared and monitored on a spreadsheet).

On big productions, weekly meetings with the accountant are key to this process. A major part of Art Directors' work is troubleshooting - they must find cost effective solutions which also provide practical answers to construction and decorating problems. During pre-production, they are also responsible for commissioning all special effects (such as explosions or car crash sequences), hiring all vehicles (from cars to horse drawn carriages) and organizing the casting of all animals (chosen by the director). As the shooting date approaches, Art Directors liaise closely with the location manager to negotiate when locations can be prepared and dressed.

During filming, Art Directors continue to oversee the construction, dressing and striking (dismantling) of the remaining sets. After the film wraps (shooting is completed), Art Directors must ensure that all sets are struck and locations cleared, and that all outstanding art department bills are paid.

Duties

The art director is hired during pre-production and works under the supervision of the production designer to develop the look of the project, in accordance with the director’s vision. He or she is the head of the art department and is involved in every stage of art development. Upon taking a job, the art director reviews the script and meets with the director and senior production staff to discuss elements like setting and theme, and how those qualities can be communicated through scenery, set dressing, props, and costumes. Though the art director does not participate in the creation of costumes, the overall aesthetic of the production is established with input from the art director and production designer.

 With a general idea in mind, this person collaborates with the production designer and assistant art director to begin rough sketches and layouts of important art assets, such as sets or focal props. When those initial comps have been approved by the director, the art department then works with storyboard artists, concept artists, and set designers to create detailed examples of all necessary art elements, including construction plans for sets, examples of set dressing, etc. The art director will conduct hiring for all art department crew and oversee the comp process. Based on the approved designs, the art director will aid the production designer in establishing a budget for materials and labor, allocating those funds as necessary. Through the end of pre-production, the art director is involved with every area of art development, to include construction, set dressing, painting, location scouting, and special effects. This person may be asked to continue work on set during principal photography to ensure integrity of the design and can participate in the tasks of set dressing or setting props.

Skills & Education

The art director must possess a talent in multiple disciplines of fine art, as well as carpentry. A college degree in film and television production or theatrical design is recommended, and coursework should include the study of traditional drawing, painting, still photography, color theory, sculpting, and art history. Courses in computer drafting and basic architectural principals are also beneficial. Furthermore, the art director must be an effective leader that is capable of managing large crews across multiple locations. This necessitates an individual who is highly organized, able to adhere to strict deadlines, and adept at creative problem solving.

What to Expect

Art directors may work as freelance professionals or may be employed full-time with a production and scenic design company that caters to the film and television industry. Those who perform freelance work are often hired on the recommendation of the production designer and, therefore, have a strong professional relationship. The reputation of your work will be your best calling card toward future employment, and effective networking is the chief means of securing a gig. To reach this senior-level position, experience as an assistant art director is preferred, with prior history as a set dresser, scenic painter, concept artist, or other art department role. The Art Directors Guild, IATSE Local 800, represents art directors and is part of the International Alliance of Theatrical Stage Employees.

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, Ken Adam: The Art of Production Design (Faber and Faber) by Christopher Frayling,

Production Design and Art Direction (Focal Press) by Peter Ettedgui, By Design: Interviews with Film Production Designers (Greenwood Press) by Vincent LoBrutto, Film Architecture: From Metropolis to Blade Runner (Prestel Publishing Ltd). Edited by D. Neumann 2001, Filming the Future (Aurum Press Ltd) by Piers Bizony, The Invisible Art: The Legends of Movie Matt Painting (Chronicle Books) by M. Cotta Vaz and C. Barron

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.

Interior Sketch / Photo Credit: Jean Vincent – Pinterest - Michael Haneke

ART DEPARTMENT COORDINATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Art Department Coordinator)

Bad Boys 2, Tapia Mansion, Del Rey Beach Set / Photo Credit: Bruce Bisbey Art Department Coordinator

ART DEPARTMENT COORDINATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Art Department Coordinator)

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

Art Department Coordinator in Motion Picture Production

I personally was an Art Department Coordinator for over a decade. Bad Boys II, Flight of the Phoenix, When A Stranger Calls, Employee of the Month, Basic, etc. Bruce Bisbey

The art department coordinator acts as the administrator of the crew; he or she is under the supervision of the art director. The coordinator assists this person in the business matters of the department, as well as the smooth operation of pre-production, principal photography, and wrap-up.

The art department is always the biggest department on any film, involving vast numbers of crew, equipment, material and most significantly, money. Art Department Coordinators provide day-to-day administration and support to help keep the department running efficiently. They must be highly capable and organized to cope with the work load and long hours involved.  

Their main responsibility is to co-ordinate information between the following departments: Set Decorating, Props, Production, Locations and Construction. They usually report to the Supervising Art Director and the Production Designer.

They are among the first to be employed in a film's Art Department, usually starting work with the Production Manager. They make sure the Art Department budget (e.g. labor costs, set dressing, drapes, etc.) is kept under control and properly communicated to the film's Producers via the Production Manager.

Art Department Coordinators perform a wide range of duties including: compiling a build, dress and strike (take down) schedule for the art department; organizing transport and travel; shipping equipment when working abroad and supplying copies of all drawings and information. They also download and prepare all location photographs for the Production Designer and make a list of all sets for the Construction and Set Dressing budgets.

Art Department Coordinators collate all location notes with details of construction, dressing and vehicle requirements so that they can organize permissions from local councils, police, etc. They are also responsible for the implementation of Health and Safety procedures.

They oversee legal clearances for all name-brand props used as part of the set dressing.

During filming, they are the point of contact for the Standby Art Director who liaises with them about any urgent requests from the art department.

Art Department coordinators usually continue to work until a week after shooting wraps (is completed), ensuring that all models have been photographed and packed away and that all drawings have been filed and/or correctly archived.

They also provide General Personal Assistant support to the Production Designer.

Art Department coordinators work on a freelance basis and may be required to spend long periods working away from home.

Duties

The art department coordinator begins work during pre-production and is responsible for tasks as delegated by the art director. These tasks will include managing all department communications concerning scheduling, such as informing pertinent staff of design meetings, delivery deadlines, and related events. It is the coordinator’s job to ensure that all parties are on the same page and informed about decisions and changes that will affect the development of art assets and concept material. He or she will also participate in research. If the art director is trying to pin down the accurate aesthetic of Morocco in the early 1900s to produce a convincing exterior set, the coordinator must use all available resources to gather necessary information concerning color, style, textures, and materials for that purpose.

In preparation for construction of scenery, this person is responsible for documenting a complete materials and equipment list and then for gathering vendor proposals for renting or purchase. When the appropriate vendors have been selected, the coordinator will oversee the purchase or rental agreements and collect applicable paperwork for billing. Therefore, the coordinator is also tasked with tracking the art department budget and delivering that information to the line producer. Other duties delegated to this position may include scheduling crew and documenting time sheets. During production, the coordinator continues to monitor expenditures against the budget and turns that information over to the production office, as well communicating call times for the art department crew. At the conclusion of principal photography, he or she must hand over all budget documentation for billing to the line producer, and see that vendors are paid. This person must also manage the return of all rentals to the appropriate vendors.

Skills & Education

There is no formal training or qualification for becoming an Art Department Co-ordinator. You will need to gain experience, contacts and good people skills by working at junior levels in Production or in the Art Department.

What’s the best route in?

You can expect to start your career at a junior level as a Production Assistant, Art Department Assistant or Runner.

You will need to work on a number of films to gain the experience and valuable contacts to co-ordinate the biggest department on film crews. Because of the heavy demands of the job, the progression to Art Department Co-ordinator can take several years.

You could apply to be a trainee through Trainee Finder, which gives you hands-on experience in the industry and helps you build those all-important contacts that are essential when competing for a job:

A college degree in film and television production or theatrical design is helpful, and study should include courses in entertainment business with an emphasis on finance, accounting, and management. An art background with training in fine art is also useful. The art department coordinator must understand the production process, as well as the procedures for obtaining vendor bids, securing contracts, billing, and budgeting. Excellent computer skills are required, and the coordinator should be familiar with Word, Excel, and various budget-tracking software. The individual best suited for the role is highly organized, meticulous, and able to juggling multiple competing priorities.

What to Expect

If you are more comfortable around spreadsheets and purchase orders than a paintbrush, than this may be the right gig for you. The art department coordinator is able to contribute to the creative process of filmmaking or television production, without the necessity for advanced artistic skill. However, there can de a downside. For those who are looking to advance in an artistic role, the coordinator job may be a dead end, as no one will have the opportunity to see your talent if you are stuck plugging in Excel formulas. Those wishing to advance to the position of assistant art director or set designer should concentrate on artistic roles within the department. On the other hand, coordinators who are strictly interested in the business side of entertainment can pursue opportunities as a line producer, unit production manager, associate producer, or similar role. A path toward becoming an art department coordinator usually begins as an office production assistant or as a full-time employee at a scenic and props company.

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, Ken Adam: The Art of Production Design (Faber and Faber) by Christopher Frayling,

Production Design and Art Direction (Focal Press) by Peter Ettedgui, By Design: Interviews with Film Production Designers (Greenwood Press) by Vincent LoBrutto, Film Architecture: From Metropolis to Blade Runner (Prestel Publishing Ltd). Edited by D. Neumann 2001, Filming the Future (Aurum Press Ltd) by Piers Bizony, The Invisible Art: The Legends of Movie Matt Painting (Chronicle Books) by M. Cotta Vaz and C. Barron

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.

Bad Boys 2, Tapia Mansion, Del Rey Beach Set / Photo Credit: Bruce Bisbey Art Department Coordinator

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

Advertising Art Director Desk / Photo Credit: Tony Clements - The Enquiry Desk

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

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

Advertising Art Director in Motion Picture Production

Art directors are responsible for the visual style and images in magazines, newspapers, product packaging, and movie and television productions. They create the overall design and direct others who develop artwork or layouts.

Art directors typically oversee the work of other designers and artists who produce images for television, film, live performances, advertisements, or video games. They determine the overall style or tone, desired for each project and articulate their vision to artists. The artists then create images, such as illustrations, graphics, photographs, or charts and graphs, or design stage and movie sets, according to the art director’s vision.

Art directors work with art and design staffs in advertising agencies, public relations firms, and book, magazine, or newspaper publishers to create designs and layouts. They also work with producers and directors of theater, television, or movie productions to oversee set designs. Their work requires them to understand the design elements of projects, inspire other creative workers, and keep projects on budget and on time. Sometimes they are responsible for developing budgets and timelines.

Art directors work in a variety of industries, and the type of work they do varies by industry. However, almost all art directors set the overall artistic style and visual image to be created for each project, and oversee a staff of designers, artists, photographers, writers, or editors who are responsible for creating the individual works that collectively make up a completed product.

Visual advertising should be eye-catching but is also intended to make an emotional promise to the consumer. The most difficult task of the advertising art director is to interpret the client’s vision as presented in preliminary concept meetings, and return with a composite (“comp”) that accurately expresses the theme of the product and meets with the approval of the client. The tools have changed somewhat over the years, but the process of conceptualization still begins with that mental “a-ha” moment.

Duties

The first step in the advertising art director’s process is to assimilate all of the available background material presented in association with the product. He or she will carefully listen to the client’s needs so as to design a campaign that can grab the attention of consumers and communicate a sense of what the audience will experience by listening to the album, seeing the movie, or attending the show. With client notes in hand, the advertising art director assigns a graphic artist to begin initial comps. The art director will guide these artists to produce several different polished examples to be presented to the client for approval. The art director also delegates additional work, such as scheduling shoots or voice-over sessions, and oversees the completion of those projects. It may take several rounds of revisions to arrive at a final campaign that the client is pleased with and which can then be translated to several different media, like billboards, one-sheets, web advertising, and television commercials. The advertising art director is ultimately responsible for ensuring the completion of all design assignments and answers to the agency’s creative director, but also may be in a position of administrative authority in the art department. In such cases, he or she is tasked with developing a budget for the production of art for each campaign and presenting the creative director with a cost proposal.

Skills & Education

A college degree in fine art or graphic design is recommended for this position, as the advertising art director must be a highly skilled artist capable of working in a number of media. Of course, inherent design talent is a prerequisite. Courses in advertising, marketing, and art history are also beneficial. If you do not naturally gravitate toward digital art, you should seek training with software like Photoshop, or start tinkering on your own and honing your skills. This job demands an individual who is an effective leader, capable of motivating his or her art staff and pulling from them their best work. He or she must be adept at taking an abstract vision and producing a tangible product; this requires excellent verbal and written communication skills.

What to Expect

It’s easy to fall in love with a particular iteration of a design, and become attached to that comp and less willing to budge on your artistic vision; this is a hazard of the job. Advertising art directors cannot become so attached to their labors of love that they disregard the wishes of their clients or the design brief as translated through the creative director or even the account executive. You must balance the client’s expectations with your own creative judgment. Remember that you are being paid not only for your talent and trained eye, but also to produce a product on contract; when possible, you can attempt to sway the client from making an obviously hideous design choice, but in the end, the person writing the check is the boss. Those who take an unwavering stance on their artistic creations are probably better suited to stay home and paint, rather than work in advertising.

Important Qualities

Communication skills: Art directors must be able to listen to and speak with staff and clients to ensure that they understand employees’ ideas and clients’ desires for advertisements, publications, or movie sets.

Creativity: Art directors must be able to come up with interesting and innovative ideas to develop advertising campaigns, set designs, or layout options.

Leadership skills: Art directors must be able to organize, direct, and motivate other artists. They need to articulate their visions to artists and oversee production.

Time-management skills: Balancing competing priorities and multiple projects while meeting strict deadlines is critical for art directors.

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

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

Advertising Art Director Desk / Photo Credit: Tony Clements - The Enquiry Desk

GENNY OPERATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Genny Operator)

Film Generator / Photo Credits: Duke Stevens - Ace Generators

GENNY OPERATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Genny Operator)

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

Genny Operator in Motion Picture Production

Most commonly referred to as the genny operator, this technician works under the direction of the gaffer (chief lighting technician) on films and television productions. His or her primary concern is the safe and proper operation of all electricity generators that supply power to on-set equipment and location trucks and trailers.

On a film set, the power source is usually managed by the Electrical Department. Depending on where you are shooting and the volume of power the production requires, many different power sources are used. Typically you are either using Stage Power, House Power, A Tie-In, or a Generator.

Duties

As a member of the electrics department, the generator operator works on set to install electricity generators to supply additional power where existing circuits are insufficient, or on location where electricity is otherwise unavailable. This person is tasked with ensuring the generators are adequately fueled at all times, balancing the load of distributed power among all output lines and running feeder cable to electrical service points as needed. He or she must constantly monitor the electrical output of the generator with a voltmeter to ensure that each leg of feeder is sending equal voltage and that the power consumption does not exceed the generators’ safe operating limits. When necessary, the genny operator is responsible for troubleshooting any mechanical or electrical problems associated with the power distribution systems and making the appropriate repairs.

Skills & Education

A degree in film and television production is recommended but not required. However, it is necessary to have formal training in generator operation, maintenance and repair, as well as principles of electricity, high voltage safety and power distribution. Courses in electrical engineering or experience in commercial electrical contracting are applicable to this role. There may be state and local laws concerning the operation of generators and power distribution systems above a certain voltage, thus necessitating the technician is a licensed electrician; therefore, certification is beneficial. The genny operator must be familiar with local codes concerning temporary electrical installations and work closely with fire marshals to ensure that all standards for safety are met.

What to Expect

Generator operators are typically among the first to arrive on set, as no one can start work until the genny operator has dropped power for them. The first several hours will be a mad dash to get all of the generators off the truck, in place, fueled, and running. Then there is the backbreaking task of running hundreds of feet of feeder cable (usually weighing one pound for every foot) to numerous trailers and department staging positions. The rest of the production day is spent waiting for something to go wrong. It is this person’s job to sit with the generators and monitor their function closely, which essentially amounts to watching paint dry. However, he or she is on call in the event that there is a loss in power somewhere on set or additional lines must be run and is responsible for refueling generators as necessary. Generator operators are eligible for membership in IATSE and typically begin their careers as set production assistants and set wiremen.

Stage Power

When filming on a sound-stage large amounts of power are typically provided as part of the facility, although this is not always the case. Typically, power is provided in the form of 3-phase 110v with Cam-Lock hook-ups.

House Power

House power refers to power that is already installed within a location. For example, if you are shooting in a apartment, House Power refers to existing power installed in the apartment. House power is generally not preferred because: lighting equipment can require more power than is available, circuit-boxes can be difficult to locate in the event of an overload, a relatively large amount of power is usually used which increases the power-bill for that cycle.

Tie-ins

A Tie-In is a method of tapping directly into the power that feeds a building from the city power-grid, thereby bypassing the limits of the circuits that are installed in the building.

A Tie-In is a dangerous activity which requires experience and skill. Improper methods can result in damage to city power-grids and death.

Generator

Generators are used in Motion Picture Production to provide power to all the departments of the production, the most demanding on which is the lighting department. Typically generators are used when filming on location, as power is normally provided when filming on a sound-stage.

How are portable generators different from a mains power supply?

There are two major differences between portable generators (or any generators for that matter) and the mains supply:

• You have to keep tabs on what you put in, mainly fuel and oil…
• You have to keep tabs on the kind of devices you plug in, or you won’t get all the power it is capable of…

Due to these differences, the generator becomes another tool that you must know well in order to get the best out of it. It’s not as forgiving as a mains supply.

Which portable generators are the best?

We cannot go into detail here without getting into electrical engineering specifics, but to summarize:

 An inverter generator produces the cleanest electricity with the most stable voltage. 

• You need this if you’re running sensitive equipment like laptops, cameras, etc…
• Petrol/Gas or diesel generators are efficient. However, in some countries, these fuels are scarce, and might be illegal to buy separately. Kerosene generators are one viable replacement…
• A good generator should have more than one outlet, and preferably the option to choose between 120 V and 230 V…
• Silent generators are often critical for film productions, especially those that require production audio…
• The larger the fuel tank, the more fuel it can carry, and the more it can run on a full tank. This will save you trips to the gas station…
• It must be compact, light and portable…
• An electric start is easier to handle than pulling a rope cord…
• The most important thing: What is its power rating? The more the better, but only if you need it... 

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, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media,

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

Film Generator / Photo Credits: Duke Stevens - Ace Generators

GENERATORS IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Movie Making Manual/Power Sources)

Truck Fleet of various Generators / Photo Credit: Light House Lights Inc.

GENERATORS IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Movie Making Manual/Power Sources)

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

Generators in Motion Picture Production

With the wide variety of generators manufactured for the various local and international markets, it is important to understand the benefits and drawbacks to each when it comes to their use in motion picture production. The increasing use of personal computers and microprocessor-controlled recording equipment in HD production has created an unprecedented demand for clean, reliable power on set at a time when the trend in lighting is toward light sources that generate dirty power. This why harmonic distortion and maintaining a balance is so important.

On a film set, the power source is usually managed by the Electrical Department. Depending on where you are shooting and the volume of power the production requires, many different power sources are used. Typically you are either using Stage Power, House Power, A Tie-In, or a Generator.

Stage Power

When filming on a sound-stage large amounts of power are typically provided as part of the facility, although this is not always the case. Typically, power is provided in the form of 3-phase 110v with Cam-Lock hook-ups.

House Power

House power refers to power that is already installed within a location. For example, if you are shooting in a apartment, House Power refers to existing power installed in the apartment. House power is generally not preferred because: lighting equipment can require more power than is available, circuit-boxes can be difficult to locate in the event of an overload, a relatively large amount of power is usually used which increases the power-bill for that cycle.

Tie-ins

A Tie-In is a method of tapping directly into the power that feeds a building from the city power-grid, thereby bypassing the limits of the circuits that are installed in the building.

A Tie-In is a dangerous activity which requires experience and skill. Improper methods can result in damage to city power-grids and death.

Generator

Generators are used in Motion Picture Production to provide power to all the departments of the production, the most demanding on which is the lighting department. Typically generators are used when filming on location, as power is normally provided when filming on a sound-stage.

How are portable generators different from a mains power supply?

There are two major differences between portable generators (or any generators for that matter) and the mains supply:

• You have to keep tabs on what you put in, mainly fuel and oil…
• You have to keep tabs on the kind of devices you plug in, or you won’t get all the power it is capable of…

Due to these differences, the generator becomes another tool that you must know well in order to get the best out of it. It’s not as forgiving as a mains supply.

Which portable generators are the best?

We cannot go into detail here without getting into electrical engineering specifics, but to summarize:

• An inverter generator produces the cleanest electricity with the most stable voltage. You need this if you’re running sensitive equipment like laptops, cameras, etc…
• Petrol/Gas or diesel generators are efficient. However, in some countries, these fuels are scarce, and might be illegal to buy separately. Kerosene generators are one viable replacement…
• A good generator should have more than one outlet, and preferably the option to choose between 120 V and 230 V…
• Silent generators are often critical for film productions, especially those that require production audio…
• The larger the fuel tank, the more fuel it can carry, and the more it can run on a full tank. This will save you trips to the gas station…
• It must be compact, light and portable…
• An electric start is easier to handle than pulling a rope cord…
• The most important thing: What is its power rating? The more the better, but only if you need it...

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, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow,

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.

Truck Fleet of various Generators / Photo Credit: Light House Lights Inc.

TIMECODES IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Timecoding in Motion Picture Production)

Timecodes LTC Reader / Photo Credit: YouTube - Apple - IPod

TIMECODES IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Timecoding in Motion Picture Production)

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

Timecodes in Motion Picture Production

Is Timecode still important?

The answer is yes. Timecode is still important. It’s a vital and fundamental skill that still has impact when shooting or editing in virtually every kind of video.

What Is Timecode?

A timecode (alternatively, time code) is a sequence of numeric codes generated at regular intervals by a timing synchronization system. Timecode is used in video production, show control and other application which require temporal coordination or logging of recording or actions. Timecode is a signal recorded with your video that uniquely identifies every frame of your tape using a time stamp in hours, minutes, seconds, and frames. Timecode uses the following format:

Figure. Diagram showing the hours, minutes, seconds, and frames elements of SMPTE timecode.

Timecode was invented in the late 1960s so that computer video editing systems could automatically find specific frames on tape and record editing decisions that could then be performed over and over again. The Society of Motion Picture and Television Engineers (SMPTE) standardized several electronic timecode formats for video in 1967.

Note: Other types of address code, such as keycode and ink numbers, are used for editing film. For more information, see the documentation that came with Cinema Tools.

Although there are a lot of applications or features that you encounter when editing a video, the term timecode always seems to appear. Timecode is a time or code assigned to a specific frame or a specific point in a video. Essentially, a timecode is like a time stamp in video editing.

However, nowadays, timecode is no longer used only for video editing. Timecodes are also now used in audio and music file editing.

Types of Timecode

There are several types of timecodes you can use when editing your video. There are two major types of timecodes: DV Timecode and SMPTE Timecode.

DV timecode is often used on digital media. DV timecode is stored on its own track and is then transferred over fire wire. SMPTE is the standard timecode format used on all non-digital media. It is often stored on an audio track or integrated into the video track.

There are also two other familiar types of timecode still being used: the Drop Frame and the Non-Drop Frame.

Drop Frame Timecode throws out the numbers at :00 and :01 frames every few minutes, except at the 10 minute mark. This means that a video with a drop frame timecode will make adjustments by skipping frame numbers periodically. This is to keep the timecode synced with real time.

With a Non-Drop Frame Timecode, a number to 30 frames per second is assigned. This will result to an error of .03 frames per second. In a nutshell, if you use a Non-Drop Frame Timecode, your video will run approximately at 30 frames per second.

Video and film timecode

In video production and filmmaking, SMPTE timecode is used extensively for synchronization, and for logging and identifying material in recorded media. During filmmaking or video production shoot, the camera assistant will typically log the start and end timecodes of shots, and the data generated will be sent on to the editorial department for use in referencing those shots. This shot-logging process was traditionally done by hand using pen and paper, but is now typically done using shot-logging software running on a laptop computer that is connected to the time code generator or the camera itself.

The SMPTE family of timecodes are almost universally used in film, video and audio production, and can be encoded in many different formats, including: 

• Linear timecode (LTC), in a separate audio track…
• Vertical interval timecode (VITC), in the vertical blanking interval of a video track…
• AES-EBU embedded timecode used with digital audio…
• Burnt-in timecode, in human-readable form in the video itself…
• CTL timecode (control track)…
• MIDI timecode… 

Keykode, while not a timecode, is used to identify specific film frames in film post-production that uses physical film stock. Keykode data is normally used in conjunction with SMPTE time code.

Rewritable consumer timecode is a proprietary consumer video timecode system that is not frame-accurate, and is therefore not used in professional post-production.

Other time code formats

Time codes for purposes other than video and audio production include: 

• Inter-range instrumentation group time codes (IRIG) is used for military, government and commercial purposes…
• DTS time code is used to synchronize the optical DTS timecode track from a projector to the CD-based DTS audio tracks… 

Timecode generators

Depending on the environment, timecode generators can take various forms.

Uses of Timecode

Timecode is an essential part of video editing. The timecode assigns a specific time to each frame of video. By doing this, you can access any specific frame of the video and any edits you make to a frame will still be accurate.

You can also use a timecode to make the video in conjunction with real time. By dropping or skipping a frame, you are able to align the time of the video in real time.

Giving each frame a timecode is like stamping a frame with a special code so that each one is unique and easily searchable. You can manipulate each frame of the video, pick a scene, cut a scene and adjust the beginning or end of the frame to define it.

Creating a Timecode

A timecode is an 8-digit code and each code has a different meaning. The first number signifies the hour, then the minutes, the seconds and the last number signifies the frame number. Since a timecode moves from right to left, the number should be encoded the same way beginning with the hour.

You should also note that the hour is based on military time, which means that numbering is from 1 until 24. However, encoding the minutes and seconds is just like that of a regular clock - 0 to 59.

If you will be using a Drop Frame Timecode, use a semi-colon or period to separate the seconds and frames. On the other hand, use a colon all throughout for a Non-Drop Frame Timecode.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Final Cut Pro, Apple, John Ratcliff (1999). Timecode: A user's guide, Charles Poynton (1996). A Technical Introduction to Digital Video, Steves Digicams, Edit Video Faster, 

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.

Timecodes LTC Reader / Photo Credit: YouTube - Apple - IPod

STABILIZATION GIMBALS… (In the Entertainment industry. Stabilization Gimbals)

CAMETV Heavy Camera Larger Frame 8000 Gimbal Stabilizer / Photo Credit: Cheesy Cam

STABILIZATION GIMBALS… (In the Entertainment industry. Stabilization Gimbals)

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

Stabilization gimbals

Stabilization gimbals are a big thing now (My guess is that they be the most commoditized item at the upcoming photo kina show). I mean you can get a decent gimbal for as low as $200 for an action cam/phone or $700 for a mirrorless camera. Those used to cost thousands just 3 or four years ago.

But even the best gimbal still needs to be used correctly to get the best out of it.

Some of the tips revolve around making sure that you get the smooth movement you wanted to. Walking with bent knees is quite known, but have you ever thought of using a bicycle to get smooth movement? It quite clever.

Other tips concern squeezing every second from your gimbal, like making the camera is light as possible. And several clever tips about keeping the camera leveled while changing batteries and how to put the gimbal away easily.

Pans, tilts, jibs, and sliders are all solid, established tools to help you add motion to your documentary. But a steadicam, or more recently, a brushless gimbal, can emulate all of those traditional movements with ease. More importantly, they can do things that no other tool can do: they can take your documentary production to a whole new level.

But the major problem with most camera stabilizers is that they’re too much hassle for the practical realities of documentary production. If you’ve read up on the series “How To Use a Gimbal,” you’ll know just how much finesse it takes to get a gimbal up and running. For commercial and narrative work, without a doubt a gimbal or traditional steadicam is a great tool. But when you’re working alone or with a small crew on a fast-paced, unpredictable documentary shoot, the decision to use a gimbal becomes a more delicate balance of risks and rewards.

First, if you’re interested in a steadicam or Glidecam, it’s relatively simple to figure out your balance in advance of your shoot. And if you attach a quick release plate, at the moment you want to use your steadicam you can take your camera off your tripod and place it on your steadicam rig, and you’re good to go. The issue is that a traditional steadicam is difficult to master, it’s hard on your wrist (unless you add a more sophisticated arm or chest harness), and your movement and camera control is fairly limited.

With a gimbal, you can use both your hands to hold the rig, and you can even move your camera’s control grip to one of the gimbal handles, so you can control exposure, focus, and even zoom while maintaining steady shots. Without getting into more advanced types of gimbal shooting, you can mimic a slider, jib, pan, or tilt shot with just the gimbal alone. If you’ve ever used a jib on a documentary shoot, the ability to shoot a jib-like shot with just your hands holding a gimbal and camera is a phenomenal tool in your tool belt.

But a gimbal can do so much more for your documentary, by enabling you to create sequences of shots while your subject is in motion. Traditionally your sequences are set in static locations, or you play the cat and mouse game of running in front of your subject, let them pass, and then repeat. With a gimbal, you can shoot your subject as they’re walking, driving, biking—or any other form of transportation—while you follow along. And even when your subject is not moving you can create camera motion that gives your video a polished look that has been incredibly expensive to achieve, up until now.

Gimbals are a Lot of Work

Most gimbals are not set up for solo operators looking to get quick shots. The biggest hurdle is that gimbals require a stand of some sort, to hang the gimbal while you balance the camera. If you change lenses, zoom in or out, adjust your accessories, or simply bump the gimbal out of balance, you’ll need to bring your gimbal stand along everywhere you go.

The balancing act is also a bit cumbersome. The first gimbal you buy maybe frustrating balancing on all sorts of stands before we finally got it working. Nowadays, the balancing is easier, but you still need to dive into the dark arts of software adjustment to fine tune your camera’s balance.

And then you need to figure out an external monitoring solution, if you can’t see your camera’s LCD screen while you’re shooting. And to minimize your camera’s weight, your microphone has to go somewhere off the camera. If your camera and lens is over five pounds, you’ll have to move up to more heavy-duty gimbals that are costly and even more cumbersome.

And finally, once you have your gimbal all rigged up and ready to go, there’s the problem of physically holding the gimbal for long periods of time. Most gimbals are designed in a way you have to hold the gimbal and camera far in front of you, so it doesn’t touch anything that could push it off balance. And the camera is placed at the bottom of the gimbal, so if you want to shoot at face level you’ll need to hold the gimbal higher above your head. Within minutes you’ll be worn out from holding the rig so much that your shots will feature major shake, even with the gimbal motors running.

To ease the weight of a heavy gimbal and camera, there are solutions out there that can transfer the weight to your back, hips, or arms, but not only are they costly, you’ll also start to look like a cyborg wearing a suit of armor. It just won’t fly on a documentary shoot.

A gimbal that allows you to shoot in “inverted mode,” where the camera sits on top of the gimbal rather than being suspended from the bottom of it, does more than just allow you to balance on a tabletop. It also allows you to shoot at face level without having to raise the gimbal above your head, which means you can shoot for long periods of time without getting fatigued.

There are even gimbals that have flat undersides that you can attach a quick release to, so you can place the gimbal on a tripod. Apart from balancing, you can even use this setup to shoot precision pans and tilts with a gimbal on top of a tripod fluid head.

And then there are gimbals that are incredibly lightweight and portable, but are intended for small cameras or even smartphones. In a documentary shoot, you could have a small B-cam ready to go on a gimbal at all times, but you have to be aware of any issues that come with matching multiple cameras and their picture profiles.

Finally, there are gimbals that have small cameras and lenses permanently attached to them, often in super lightweight one-handed designs. While your options are limited in terms of camera and lens choice, the flexibility and ease with these setups are perfect for documentary shoots. This enables you to put aside your main camera for the moments where your subject is on the move, pick up your separate gimbal/camera, and shoot a sequence without disrupting the rest of your traditional setup.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Steadicam, Tiffen, Tuts Plus, Slavik Boyechko, DIY Photography, Udi Tirosh,

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.

CAMETV Heavy Camera Larger Frame 8000 Gimbal Stabilizer / Photo Credit: Cheesy Cam