BBB Research Analysis Development Company & Dumb Dog Productions LLC

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/

Monday, May 14, 2018

COPYRIGHT/LICENSING ATTORNEY IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Copyright/Licensing Attorney)

COPYRIGHT/LICENSING ATTORNEY IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Copyright/Licensing Attorney)

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

Before a film hits theaters or a television show airs, attorneys must work out numerous contract stipulations that govern a company’s rights to exploit a creative property. In today’s increasingly connected technological landscape, attorneys face greater challenges in determining and anticipating all possible uses of a copyright license, wading into uncertain waters of social media, free streaming content, and paid on-demand distribution.

Duties

Attorneys working in the entertainment fields of film and television may serve many masters with competing but similar interests; small production companies, major studios, distributors, networks, and numerous other players each depend on copyright/licensing attorneys to protect their ability to profit from licensed creative properties. Attorneys are responsible for negotiating the licensing terms on behalf of their clients or employers, drafting contracts, and defending that license when a challenge arises.

Related to obtaining a copyright license, there are numerous considerations that the attorney or legal department must address. One of these is researching the origins of the license to ensure that the seller legally owns the copyright, without dispute. It is not unheard of for a company to license a property only to face a lawsuit from a third party claiming to own the copyright. Similarly, in the case of a film or television series, attorneys representing the licensee must perform research to ensure that all necessary clearances have been made for any copyright protected material that appears within the movie or show. For example, songs included in the soundtrack, brand logos that are visible in a scene, and even tattoos on Ed Helms’ face.

In addition to research concerning the ownership of a creative property and the necessary clearances, attorneys on both sides of the negotiating table face challenges in determining the scope of the license agreement. Depending on the licensee’s intentions with the property, like theatrical release or network syndication, the specifics of the agreement will vary widely. However, it is becoming common and necessary to consider uses like creating branded social media pages, releasing YouTube content, streaming aired television shows online, or offering video on demand. As this is new legal territory for many attorneys and content producers, the negotiations can be especially complicated. There are recent examples of disputes related to explicit and implied consent in a license, the outcomes of which are continuing to pave new roads within the industry. Copyright/licensing attorneys play a vital role in determining the future of film and television.

Skills & Education

An attorney working specifically in the fields of film and television is well served to specialize in communication law, including a concentration on copyright law and contracts. A specific bachelor’s degree is not a requirement for most law schools, but undergraduates should pursue a major that is relevant to their career aspirations. More important during an undergraduate education is developing analytical and critical thinking skills, as well as training your information retention abilities. Many law programs look favorably on applicants with a degree in English, communication, entertainment business, or other area that requires the demonstration of strong written and verbal communication skills with a particular concentration on the student’s ability to form compelling arguments backed by research and evidence.

What to Expect

In general, a career in law can be stressful. In the entertainment industry, copyright agreements and contract negotiations carry hefty price tags and, therefore, significant pressure. This is not the career for the timid or those who prefer to avoid confrontation. Working in the entertainment industry also carries with it the inevitability of dealing with egos. On the job, an attorney must be a fierce advocate for their client or employer but also delicate and diplomatic in negotiating with third parties, like unions, producers, distributors, and studios. The industry is a tight group, and a deal gone bad or sour negotiation can endanger future relationships, thereby inhibiting the attorney’s effectiveness as an advocate.

Like any other career field in entertainment, outsiders have a difficult time breaking in. A recent graduate should expect to spend as long as three years networking and taking entry-level positions in legal departments before gaining enough experience and credibility to move up within their field. Employment opportunities are available for attorneys working as full-time staff for a production studio, distributor, television network, or similar company. Additionally, attorneys have the option of entering a private practice that caters to entertainment industry clients on a contract basis.

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.

CONSTRUCTION FOREMAN IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Construction Foreman)

Lego Film Construction Foreman / Photo Credit: ToyWiz - Lego Movie

CONSTRUCTION FOREMAN IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Construction Foreman)

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

Construction Foreman in Motion Picture Production

Scenery is one of the most comprehensive visual elements of a film or television production. Sets establish a time and place but can also become characters in themselves, with great craftsmanship and effort put forth to providing an immersive environment in which the cast plays out the story. Just consider for a moment the iconic places audiences have traveled through scenery, like the bridge of the Starship Enterprise or the untamed and ominous ruins of Kurtz’s Cambodian compound.

Duties

The construction foreman answers to the construction coordinator and is responsible for overseeing the crew of carpenters in building sets and scenery for film and television productions. This person should be able to perform the duties of the coordinator and supervise the department in his or her absence. On large productions with a significant number of crewmembers within the department, the foreman acts much in the same fashion as a foreman on a residential or commercial construction project. He or she delegates specific tasks to the carpentry crew, ensuring that all projects are accomplished in accordance with the designs set forth by the production designer and art director and that all scenery is completed on deadline. When working on a small production with few carpenters, the foreman may do a considerable amount of the construction while assigning additional tasks to the rest of the crew.

Inevitably, glitches will arise on the job; it is the foreman’s duty to mitigate issues that could delay production. Such hindrances could include encountering an unforeseen structural design flaw or a delay in receiving necessary construction materials. The foreman will work with the coordinator and other members of the crew to quickly devise a solution and get the team back to work. If the production designer, set designer, or other senior personnel is not available to consult on design matters, the foreman and coordinator have the authority to make decisions on the fly. The construction foreman is also responsible for managing personnel within the department, mediating internal conflicts and addressing performance issues. It is the foreman’s job to see that the crew is working effectively and efficiently to ready the production to begin on time.

Skills & Education

Practical experience in carpentry is necessary, which can include commercial and residential construction. A specific college degree is not required, though degrees in theatrical design or film and television production with an emphasis on scenic design are encouraged. The foreman must understand the basic principles of construction, as well as the standard techniques regularly employed in the fabrication of sets and scenery. Other proficiencies include familiarity with the proper use of manual, electrical, and pneumatic shop tools and the ability to accurately interpret blueprints. Some experience in the use of software like AutoCAD is beneficial. The foreman should be an effective leader, capable of training and educating others, offering guidance to the carpentry crew.

What to Expect

This is a senior-level position within the construction department, which requires significant work history in film and television production. To seek advancement to the role of construction foreman, one should first gain experience as a carpenter’s assistant or entry-level carpenter. From there, accumulating credits on film and television productions can lead to opportunities to work as a lead carpenter, and eventually to the foreman position. You should expect a significant amount of manual labor working in a scenic shop, where the work is often dirty, sweaty, and somewhat hazardous. There is an inherent risk to personal safety when working in construction of any kind, but proper training and attention to your task can avert accidents.

Lego Film Construction Foreman / Photo Credit: ToyWiz - Lego Movie

Saturday, May 12, 2018

CONSTRUCTION COORDINATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Construction Coordinator)

Construction Coordinator Set / Photo Credit: My First Job in Film

CONSTRUCTION COORDINATOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Construction Coordinator)

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

Construction Coordinator in Motion Picture Production

Take away the work of the construction department on a film or television program, and what you have are actors standing on a bare soundstage with no scenery to ground the story. To ensure the quality execution of set designs according to the vision of the director and production designer, the construction coordinator will supervise the crew of carpenters and is accountable for concerns relating to the budget, materials, and equipment.

Duties

The construction coordinator begins work early in the pre-production process and answers to the production designer. In initial creative meetings, he or she will meet with members of the art department to review set designs and collect supporting materials like scale models or photographs. With the script breakdown in mind, this person may wish to tour production locations in order to account for the specific logistical concerns of the soundstage or outdoor environment. According to the designs presented, the construction coordinator will hire appropriate crew and consult with the construction buyer to determine the equipment and materials necessary to complete the build. In coordination with the line producer or unit production manager, the construction coordinator will develop a department budget and allocate funds suitably. The budget and construction timeline shall determine the work schedule and help in the delegation of assignments to the crew.

During the construction process, the coordinator will be required to regularly update the production designer on the progress of the construction and will continuously monitor the work of the carpenters to ensure adherence to the design specifications, as well as seeing that work is completed to the proper standard of quality. Safety must be the highest priority for the construction coordinator, and he or she is responsible for enforcing safety protocols at the work site. This includes seeing that all employees use the appropriate personal protective equipment and that the shop is kept clean and neat to minimize the potential for accidents.

Skills & Education

A college degree in film and television production with a concentration in carpentry and scenic design is encouraged, but a similar major in theatrical design is also applicable. Equivalent experience in commercial and residential construction is also useful, with additional training on the specific techniques employed within the entertainment industry. Though scenery for the stage and screen are built to be lighter, cheaper, and portable, sets must still be sturdy and safe for actors. As such, the construction coordinator must understand the common principles of carpentry and be able to instruct others in the proper methods. This person should be comfortable around mechanical equipment and knowledgeable about typical shop tools, like table saws and impact drivers. Courses in physics and advanced mathematics are also helpful, as construction relies on precise measurement and attention to load capacities.

What to Expect

As a department head, the construction coordinator is a senior-level position that requires several years of professional experience. Prior employment as a carpenter or construction foreman on a film or television production is required. Opportunities exist for freelancers, as well as permanent employees who may work for a scenic company that caters to the entertainment industry. Typical work conditions will include 40 hours per week, but schedules may vary from the usual nine-to-five, to also include overnight shifts and weekends, depending on the production schedule. The coordinator will work in the scenic shop and have direct contact with the paint department, as well as other department heads during pre-production. Those working in this craft are eligible for membership in IATSE, the union that represents artists and technicians within the entertainment industry.

Construction Coordinator Set / Photo Credit: My First Job in Film

CASTING DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Casting Director)

Casting / Photo Credit: Mastering Film

CASTING DIRECTOR IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Casting Director)

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

Casting Director in Motion Picture Production

Good casting is often the make-or-break ingredient between a box-office flop and a ratings hit. To put together that magic blend of actors and actresses, studios rely on the services of a casting director. Though big names like Angelina Jolie and George Clooney rarely have to go through the extensive casting process that unknowns endure, casting directors are responsible for casting every role from the lead to “Girl on Train” or a herd of extras.

Duties

After a film or television show has gotten the green light, the director and producers hire a casting company to find the right talent for the production. A casting director’s first step is to read the script and consult with the director and producers on their creative vision for the principal and supporting cast. The team brainstorms to build a wish list of leading stars, and “types” (comes up with a profile of desired appearance and other criteria) the additional roles. Wooing big stars is usually the task of the film’s director or a studio executive. Occasionally a celebrity’s agent will catch wind of a project and maneuver his client onto the short list.

With the directorial notes in mind, the casting director starts locating the right types for each part. This is a research-heavy task that requires scouring the available talent pool. To pull in the best, casting directors will employ assistants and associate casting directors to search databases for familiar faces and beat the pavement to discover new talent—attending small plays and comedy clubs, watching micro-budget and student films, and never fast-forwarding through the commercials are job requirements. Next the casting director will host a series of first-read auditions and callbacks. For lead and supporting roles, this process can require several sessions. For non-speaking or background roles (extras), a cattle call audition will be held and actors typed out based on how well their look matches the needs of the director. After the casting director has compiled a roster of candidates for each role, the list, accompanied by headshots and résumés or video reel, is discussed with the director. Further auditions and screen tests with the director and producers may be required before the director gives final approval. A casting director will generally stay onboard with a film through the end of shooting in the event that a role must be recast or additional characters are added. In the case of television, a casting director will typically work for the producers for the entire run of a series.

Skills & Education

There are no specific educational requirements to work in this field, but extensive experience in film, television, or theater is necessary. Many casting directors have a background in acting or a technical area of live entertainment production. Classes in acting and directing and workshops given by accomplished casting directors are a good way to learn the trademark skills of this position. A casting director must have a sharp eye for talent, a solid grasp of the business side of the film and television industry, and a constantly updated mental index of the talent pool in their area. Most important is a great ability to listen (so as to interpret a director’s vision) and a great capacity for building relationships with actors, as well as directors and producers.

What to Expect

Be patient and resilient. A casting director’s schedule will fluctuate rapidly; finding work can come in waves, with dry spells between projects. Also expect to spend several years working your way up from the bottom. A lengthy list of credits on successful projects is the best calling card for a casting director. To get there, look for jobs as a production assistant, internships within a casting firm, or opportunities to work as an assistant to an established casting director. Casting work on student films and low-budget independents can help build your skill set and résumé. Look for industry events and film festivals as opportunities to network. The best way to get a gig is to work your contacts and always, always keep your eyes—and your mind—open. Most of all, you must be a self-starter who’s ready to build a career one project at a time.

Casting / Photo Credit: Mastering Film

Thursday, May 10, 2018

ANIMATION LAYOUT ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Animation Layout Artist)

Black Pencil Pan Animation Paper / Photo Credit: First Animation Art Cedar Rapids Iowa - Michael Hodgson

ANIMATION LAYOUT ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Animation Layout Artist)

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

Animation Layout Artist in Motion Picture Production

Layout artists communicate information visually by assembling components to create a visual design. They can work with type styles and images. With experience in the field, they can advance to supervisory positions.

In computer-aided animation, a layout artist serves a similar function to a cinematographer; this person is responsible for determining the shot’s frame, camera angle, camera path, and lighting of each key animation scene. While the camera is virtual, and an artist, instead of a gaffer, fills in the lighting, the principle is essentially the same.

A layout artist collects and assembles type styles and images, such as illustrations, photographs and drawings, to create a visual design in a computer or on paper. The layout artist is one of several types of commercial artists known as graphic designers who deliver ideas and information through visual communications. These professionals must possess artistic skills and are typically required to hold a bachelor's degree in a field pertaining to art or graphic design.

Duties

Layout artists work with software, such as the page-layout systems InDesign, PageMaker and Quark. They determine the color and size of type for the layout and the illustrations to be included. At times, the layout artist is the graphic artist who develops the design; at other times, the layout artist simply produces the graphic designer's concept.

Whether animating a feature length film, television show, or even a video game cinematic, the role of the animation layout artist is basically the same. In close collaboration with the director, teams of layout artists translate storyboards and animatic into polished frames. This crew choreographs the character models in the animated environment and manipulates the virtual camera, essentially the point-of-view of the audience to dictate what is seen on screen, to capture the important emotion and plot of the scene. Layout artists position and pose the characters according to the action and dialogue in the script, giving the animators a starting point from which to fully flesh out the characters’ movements and expressions. Like a live-action production, several takes or versions of each scene will be laid out in order to give the director and editorial team options when cutting together the final product. Instead of actors, Panavision cameras, and Fresnel’s, the tools of the layout artist are software applications like Renderman, which is used by Disney/Pixar.

Skills & Education

Those aspiring to become animation layout artists must have excellent traditional art skills, with talents in both drawing and painting. Additionally, these artists must be proficient in the use of computer animation and modeling software like Maya, Renderman, and others. Layout artists must be skilled at drawing, because drawings often need to be included in a layout. In addition to having artistic abilities, the artist must also be exact and accurate in preparing layouts for production. The layout artist and most graphic designers must also be able to work well with others since interaction with clients, other designers, production people, photographers and printers is often essential. Graphic designers sometimes need to be skilled at research since, increasingly, consumer information and knowledge is needed to design product packages or ads. Experience with editing packages like Avid, Final Cut, and software like After Effects is beneficial in practicing and understanding the film editing process. A college degree in computer animation, fine art, or film and television production is invaluable to this career. Coursework should include classes in cinematography, photography, and the study of film and animation history. The position demands someone who understands the techniques of cinematography and lighting, blocking, characterization, acting, and animation. Most importantly, the layout artist must have a vivid imagination and be uniquely creative.

What to Expect

Animation layout artists typically work as full-time employees of an animation production studio, like Pixar or Blue Sky, but may find freelance opportunities as a member of the production team of a television series or feature film. Similar positions exist within game development studios, working specifically on the cinematics or cut scenes that are interlaced with the gameplay. As with all areas of production and post-production, hours may be highly irregular, requiring at times much more than a typical 8-hour day. Studios hiring layout artists generally prefer a candidate with exceptional artistic ability that is competent with software applications, but they will train the right applicant. Most important is a trained eye for laying out an attractive scene that accurately conveys the mood and plot. Candidates are hired based on animated reels and portfolios. Previous experience in one or more areas of animation or visual effects is necessary. Opportunities do exist for entry-level work in the art department of animation studios, through which an employee can seek advancement to the role of layout artist.

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,

Black Pencil Pan Animation Paper / Photo Credit: First Animation Art Cedar Rapids Iowa - Michael Hodgson

Wednesday, May 9, 2018

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

Wes Anderson the Aquatic / Photo Credit: Wes Anderson - 100bribes - WordPress

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

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

Assistant Art Director in Motion Picture Production

The assistant art director is responsible for executing tasks delegated by the art director; these may include management of personnel, disbursement of budget allowances, and overseeing art department activities on set.

Duties

At the start of pre-production, the assistant art director works closely with the art director and production designer to sketch preliminary design composites for review by the director. When additional storyboard artists or concept artists are hired for this task, the assistant art director is responsible for monitoring their work and ensuring delivery of assets on time. Once the director has approved concepts, this person will assist in hiring additional artists to complete working drawings, detail sketches, and layouts that will be used in constructing, painting, and decorating sets. The assistant art director may participate in location scouting by gathering photographs of possible locations and delivering detailed reports to the art director and production designer. When carpenters, scenic painters, and other art department crew have been hired and assigned work, the assistant art director will be responsible for disbursing the necessary budget allowances, keeping an eye on expenditures, and tracking build progress according to the deadline.

On set, the assistant art director will supervise the art department crew, including props, set dressers, and set riggers. He or she must ensure that the production crew executes the design plans specified by the art director and production designer and approved by the director. When necessary, he or she may be required to help dress location or place props. If the art director is not on set, this person acts as head of the art department, and is the director’s primary liaison to the department crew. He or she must maintain design integrity during principal photography and, if necessary, make decisions about changes to the original design to accommodate modifications during shooting.

Skills & Education

A college degree in film and television production or theatrical design is recommended, and this position requires formal training in areas of fine art. Courses in photography, drawing, painting, sculpture, and art history are beneficial. The assistant art director should understand the concept of color theory and composition, as well as techniques of camera framing. It is necessary to understand the production process and technology of filmmaking, as the art department must concern themselves with how sets and props will interact with the cast, as well as with lighting, special effects, and roving cameras. Creativity and a vivid imagination are necessities, as this person helps to shape the visual style of the movie or television show.

What to Expect

The assistant art director is typically a freelancer, hired during pre-production by the art director. To reach this role, you must gain experience with some area of the art department. Previous work as a props technician, concept artist, scenic painter, or a related role is applicable to this position. Full-time and part-time employment is also available at props and scenic companies that cater to the film, television, and theatrical industries. Landing a gig depends chiefly on two things: networking and your portfolio. You must dedicate time to forming strong professional relationships within your industry. Someone working a gig with you today may be your avenue to a job tomorrow. As for your portfolio, document every art-related project you work on. When applying for a job, present a bound collection of high-quality photographs that demonstrate your artistic style, talent, and mastery of technique. Those working in art direction are eligible for membership in the Art Directors Guild, Local 800 IATSE. The ADG is a division of the International Alliance of Theatrical Stage Employees, the union that represents artists and technicians in entertainment.

Production Design and Art Direction (Focal Press) by Peter Ettedgui, By Design: Interviews with Film Production Designers (Greenwood Press) by Vincent LoBrutto,

Wes Anderson the Aquatic / Photo Credit: Wes Anderson - 100bribes - WordPress

Tuesday, May 8, 2018

ANIMATION LAYOUT ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Animation Layout Artist)

Maya Overview / Photo Credit: X3Dom

ANIMATION LAYOUT ARTIST IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Animation Layout Artist)

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

Animation Layout Artist in Motion Picture Production

Duties

Skills & Education

What to Expect

Production Design and Art Direction (Focal Press) by Peter Ettedgui, By Design: Interviews with Film Production Designers (Greenwood Press) by Vincent LoBrutto,

Maya Overview / Photo Credit: X3Dom