FILM SALES AGENT IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Film Sales Agent)

Film Agent Sale List / Photo Credit: Film Daily TV

FILM SALES AGENT IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Film Sales Agent)

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

Film Sales Agent in Motion Picture Production

An Agent may agree to represent a film based on its script and proposal, but usually an unknown director can only acquire an Agent when they have a finished, or almost-completed film. Once films are sold, Distributors and Agents negotiate the contracts and conditions. Once films become profitable, Film Sales Agents pay filmmakers their percentage.

In some cases, Agents are also responsible for brokering deals for filmmakers. Effective Film Sales Agents must be able to negotiate, draw up contracts, and deal with international client and Distributor demands.

Agents usually work with Delivery services, which dispatch all the necessary materials to Distributors eg the release print, inter-negative, inter positives, sound masters, script and legal documents. Because films are sold to a large number of territories, this work is ongoing.  Agents must also provide regular financial accounts for client filmmakers, including a breakdown of costs and income for each film.

Film Sales Agents need to continually acquire new films so regularly attend screenings and festivals, and meet with new filmmakers. They also promote new films at various film festivals and markets; at lavish premiere parties, or film screenings; or by providing VHS/DVD copies for potential buyers. If a film does not sell, it may be necessary to launch a revamped campaign in order to re-sell it to Distributors.

Independent filmmakers can spend years coming up with the perfect idea, scraping together the funding to shoot, and finally completing that masterpiece—but the film may be relegated to the shelf if it cannot be sold to exhibitors. Film sales agents represent filmmakers in need of a distribution agreement.

Duties

Generally, it’s independent directors or first-time directors working outside the studio environment who require the help of a film sales agent. Once the distribution deal is finalized, the film sales agent is responsible for delivering all components of the completed film to theaters. With so many films being produced each year, and with a great portion of those lacking a distribution strategy, these wheeler-dealers never lack for a challenge. Competing to find and acquire new films is the lifeblood of a film sales agent, and film premieres, industry parties, and film festivals are the hunting grounds. At the same time, promotion of the films is paramount to their success, so creating strong relationships with distribution outlets is key to their business. At times it may be necessary for a film sales agent to actually broker deals for filmmakers.

Skills & Education

A film sales agent should have an MBA and should complete coursework in film production, history, and finance; a course or two on legal aspects of the film industry would be beneficial as well. Though almost all jobs involving sales require a special ability to schmooze, a film sales agent needs many other skills to be successful. Having the ability to negotiate and sell is an obvious prerequisite, but being able to create relationships with theater owners and exhibitors, as well as sometimes-wary indie filmmakers, is key to success, as is understanding regional differences in taste. Essentially the film sales agent is a “jack of all trades” who knows what will sell and where.

What to Expect

This career may seem glamorous and exciting, but the day-to-day work is time-consuming and stressful. Certainly the parties and festivals can be fun, as can meeting the principals involved in the films, but there is an ever-present element of financial risk. Choosing a project to represent can be a crapshoot, especially when a film is not a blockbuster. It’s up to the film sales agent to find and create opportunities for distribution in other, lower-level outlets.

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.

Film Agent Sale List / Photo Credit: Film Daily TV

EXECUTIVE PRODUCER IN TELEVISION PRODUCTION… (In the Entertainment industry. Executive Producer (TV)

Camera a filming set / Photo Credit: WiseGEEK

EXECUTIVE PRODUCER IN TELEVISION PRODUCTION… (In the Entertainment industry. Executive Producer (TV)

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

Executive Producer (TV) in Motion Picture Production

In many ways, television production departs greatly from the formula for filmmaking, as do the job functions associated with certain titles. On a television series, the executive producer may be creator and chief writer of the product. This person is the ultimate creative force and business authority behind the property, rather than just the chief financial backer or the studio’s enforcer on a film set.

Duties

The first step toward a television series is a concept. The creator, who generally acts as a series executive producer, conceives of the story, format, and characters, and hires the writing staff. In conjunction with the showrunner, the executive producer supervises script meetings to flesh out the first season’s storylines. He or she will also help establish the show’s bible, which is maintained by the showrunner. Casting is an especially critical task, as principal characters are expected to be the central interest of the project; the executive producer has final approval over regular and recurring characters, and may spend a significant amount of time coaching the cast in their performance. This person is not directly involved with hiring all production staff, but will weigh in on episode directors and department heads. With his or her senior staff in place, the executive producer participates in all production and design meetings to set the look and feel of the show; he or she has approval over everything from set design and location to the wardrobe, the music, and the choice of recording format. During photography, this person trades time between consulting on set and coordinating business affairs in the production office; the executive producer is the point of contact for the network and studio, as well as having the responsibility to set the budget and shooting schedule.

Before the show airs, the executive producer must work closely with the editor on the final cut of each episode; he or she consults on each stage of post-production from spotting the music and sound effects to dubbing scenes. Finally, this person presents the cut to the network and studio heads, and participates in planning for marketing and promotional campaigns.

An executive producer is responsible for seeing a production through from beginning to end. A producer is in charge of various administrative aspects, including hiring and overseeing cast and crew, writing and editing content, maintaining a budget, and creating work schedules.

Executive producers work on the business side of production. They ensure that a production meets goals such as helping a television station remain competitive, projecting the intended brand image of a company, and introducing new concepts or ideas. A producer must also understand and work within union regulations.

Skills & Education

There are no specific education requirements for an executive producer. Many executive producers advance into the position after working within the industry. A bachelor's degree in film, music management, or journalism may provide an aspiring executive producer with a helpful background.

This is not the job for someone new to the game; an executive producer is a seasoned industry veteran with experience as a writer, producer, or director. Talent and tenacity are required, but an education in film and television production, entertainment business, or creative writing is encouraged as a foundation to your career. You must have a firm understanding of each stage of the development and production process, as well as knowledge of filming and video techniques and a talent for constructing a compelling story. Organization, business savvy, and the ability to communicate your vision in a way that enthralling listeners are a necessity in this line of work.

What to Expect

The place to start is the writers’ room. The most successful executive producers have done their time as staff writers or freelancers on past television series. Talent and skill will get you promoted from staff writer to story editor, writer-producer, and on up the ladder. To become an executive producer, you will have to land that one great pitch that sparks the interest of a network, so embrace your creativity and constantly be grooming your pet project for presentation to anyone who will listen. Be honest about your work; be true to your creative vision. As executive producer Ed Weinberger said, “Do the show you want to do, because in the end they’re going to cancel you anyway.”

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.

Camera a filming set / Photo Credit: WiseGEEK

EPK PRODUCER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. EPK Producer)

EPK Press Release / Photo Credit: Filmsourcing

EPK PRODUCER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. EPK Producer)

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

EPK Producer in Motion Picture Production

EPK Directors/Producers (D/P) may be asked to pitch for a job after reading the script. They will consider how the EPK and “making-of” films fit in with the overall press and marketing campaign. Once they have been hired EPK D/Ps work directly with the film company’s publicity department, and with the on-set Unit Publicist, to organize the shooting schedule.

For the b-roll (general behind the scenes footage of the film’s production) EPK D/Ps select days during the main shoot when major cast members are on set. They make sure they are available for interviews and know when exciting location and action sequences are planned. Once on set, EPK Crews work closely with Assistant Directors and the rest of the crew to find the best position from which to film. Their shot ideally includes a good view of the scene, and also of the crew filming it.

EPK crews must also ensure that they do not position the camera in actors’ eye-lines during takes. Interviews are usually conducted as close to the set as possible. If special lighting is required, or if the set is too noisy, other areas must be found. At the end of each day’s shoot, EPK D/Ps check the sound and picture quality of any interviews recorded, that any scenes shot are of the right quality. 

EPKs often have to be ready up to two months before the film’s release to allow for all approvals to be given, and for any changes that need to be made. ‘Making Of’ programs have to be delivered to television stations up to a month before broadcast. They should be completed well in advance to allow for any approvals and re-cuts. Once the final cut is approved, the picture is graded and the sound mixed to broadcast standards.

DVD material requires up to six months lead time. This is to allow for DVD authoring and to dub (translate) or subtitle the programme extras.

EPKs are produced and edited by a small number of highly specialist companies. These employ Director/Producers (D/Ps) to write and edit each production. Camera and Sound Operators are hired on a film by film basis, and are usually highly experienced film industry practitioners. EPK D/Ps often work on three or four films simultaneously.

Electronic press kits, or EPKs, are commissioned by film and television production companies for use in publicity material sent to members of the media, as DVD extras, and in promotional packages. The footage included in the EPK usually consists of behind-the-scenes shots and “making of” videos, as well as interviews with the cast and crew. To produce this content, the publicity department of the studio hires a third-party production company or freelance crew, which consists of a unit videographer, sound mixer, and EPK producer.

Duties

The EPK producer hires the crew that will execute all EPK production, and is the point person between his or her crew and the unit publicist onset of the film or television show. It is the producer’s responsibility to collaborate with the unit publicist to create the shooting schedule for EPK material, arrange for on-camera interviews, and approve access to the set during regular filming. In many cases, the producer also takes on the role of a director, instructing the videographer and sound mixer in how to capture a particular segment and formulating questions for the interviewer. He or she will also be chiefly responsible for the EPK crew’s budget and expenditures, arranging transportation, and booking accommodations.

At the conclusion of each shooting day, the EPK producer will hold a review session with the crew and unit publicist to watch dailies and will make detailed notes regarding concerns for future editing, interviews to be re-shot, and other creative decisions. When production wraps, the producer will collaborate with an editor to take a first pass at cutting together the necessary segments. That version is sent to the studio’s publicity department for review, where additional revisions may be ordered, or the studio may elect to have its own editors complete the process. To close out the contract, the EPK producer will deliver an invoice to the studio, and upon receiving final payment, will forward payment to the EPK crew and reconcile invoices with vendors for rental equipment.

Skills & Education

A college degree in film and television production, broadcast journalism, or communications is recommended for a career as an EPK producer. However, editing experience is the best training for EPK D/Ps. This individual must have a thorough knowledge of the production process, video and audio equipment, and the inner workings of production publicity. Additional proficiency in non-linear editing and as a camera operator is also beneficial. It is necessary to be capable of creating and tracking a budget and estimating production costs, taking into account numerous variables; on-the-ground knowledge as simple as how much it costs to rent a Panasonic HD camera package in Louisiana is immensely beneficial.

What to Expect

Veteran EPK producers have several years of experience in some capacity of film and television production, and can work full-time for an EPK production boutique or as an independent freelancer. Obviously, permanent employment offers greater stability, but those who are adept at networking and are capable of effectively selling themselves often enjoy the freedom of being self-employed. There are also a number of successful producers who have opened their own shops to cater to the film and television industry. If you are certain EPK production is where you want to be, then seek out entry-level positions within a company specializing in that area. Most are located in Los Angeles and New York. Otherwise, moving your way up on set or in the publicity department of a studio will garner the necessary experience and opportunity to make professional connections.

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.

EPK Press Release / Photo Credit: Filmsourcing

DIRECTOR OF PHOTOGRAPHY IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Director of Photography)

Director of Photography / Photo Credit: Cinema South Expo

DIRECTOR OF PHOTOGRAPHY IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Director of Photography)

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

Director of Photography in Motion Picture Production

A cinematographer or director of photography (sometimes shortened to DP or DOP) is the chief over the camera and light crews working on a film, television production or other live action piece and is responsible for making artistic and technical decisions related to the image. The study and practice of this field is referred to as cinematography.

The cinematographer selects the camera, film stock, lenses, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other; the director will typically convey to the cinematographer what is wanted from a scene visually, and allow the cinematographer latitude in achieving that effect.

The camera serves as the audience’s eye into worlds that are strange, dramatic, and fascinating. Through film and television the viewer suspends disbelief to accompany the cast on an adventure—to end in catastrophe or celebration. The director of photography is perhaps most responsible for guiding our eye on the journey the director has designed.

Duties

The director of photography (also known as the DP or cinematographer) is hired at the start of preproduction, and is typically hand-picked by the director. This person will supervise the camera, lighting, and grip departments, and is tasked with selecting the cameras, lenses, filters, film, and other accessories required for principal photography. She or he will also have input on hiring camera operators and assistants and grip and electrics crews. The first task is a thorough read of the script and consultation with the director. The two work out storyboards, consult with the production designer, and plan a shooting schedule and budget.

Under the International Cinematographers Guild (IATSE Local 600) basic agreement, the director of photography is not permitted to operate a camera during production. Instead, the DP instructs the camera operator in framing, focus, aperture, and movement. She or he directs the key grip and gaffer in the setup of lighting and other effects to achieve the shot to match the director’s vision and portray the proper mood and emotion of the scene. The DP also makes suggestions to the director concerning how to capture complicated action sequences and tracking shots, the use of cranes and dollies, and the actors’ blocking. At the end of each shooting day, the director of photography sits down with the director to review dailies and take notes. After principal photography has wrapped, the DP oversees the digital grading and film development process. She or he will also participate in any necessary reshoots and the addition of visual effects in post.

Skills & Education

A director of photography needs expertise in lighting, color theory, camera operation, and the techniques of cinematography. It is possible to pick up a general knowledge by studying under a mentor on the job, but a college degree in film and television production is the most comprehensive education toward this career. As a supervisor of the camera, lighting and grip departments, this person must be proficient in each area. Prior professional experience in one or more production departments is required. The most successful DPs, however, are artists, not simply experienced technicians—visual maestros like Sven Nykvist, Haskell Wexler, Roger Deakins, and Lance Acord create moving paintings out of light and shadow.

What to Expect

The camera department is still the standard proving ground for future cinematographers, but it is becoming more common to see DPs who have graduated from the lighting crew as gaffers. To work on projects for major film and television studios, a director of photography must become a member in good standing with the International Alliance of Theatrical Stage Employees. If working on independent productions, the specific scope and duties of this position can vary widely. Cinematographers are both skilled technicians and talented visual artists. It is important to practice your craft, familiarize yourself with the camera at the component level, and continue to stay abreast of the innovations and inventions in camera technology, but also to nourish your eye: Visit museums and art galleries and keep up-to-date with contemporary art trends. You should be prepared to work for many years to rise to the senior-level role of the director of photography. This is a freelance career that requires long hours, substantial travel, willingness to adapt to changing conditions, and the patience to work with personalities from diverse backgrounds.

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.

Director of Photography / Photo Credit: Cinema South Expo

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

Director Clint Eastwood on Million Dollar Baby / Photo Credit: Thomas Film Blog - Clint Eastwood

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

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

Director in Motion Picture Production

The director is the ultimate creative voice of a film; he or she holds the core vision of the project and leads the cast and crew through preproduction, principal photography, and post-production. Like a general on the field of battle, the director sees the whole picture, and is the one who plans strategy, delegates’ tasks, and inspires the troops to achieve the goal.

A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay (or script) while guiding the technical crew and actors in the fulfillment of that vision. The director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking.] Under European Union law, the director is viewed as the author of the film.

The film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget.

There are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors. Other film directors have attended a film school. Directors use different approaches. Some outline a general plotline and let the actors improvise dialogue, while others control every aspect, and demand that the actors and crew follow instructions precisely. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors edit or appear in their films, or compose the music score for their films.

Duties

In most cases, the director selects crew heads like the DP (an important hire, and often the person who works most closely with the director to achieve his vision), assistant directors, second unit directors, and an editor. These staffing decisions must be approved by the producer and may be written into the director’s deal memo. Likewise, the director is usually given the discretion to fire and replace crewmembers as needed.

During preproduction the director is provided with the shooting script, any pertinent supporting material, and a detailed budget. She or he may have the authority to make changes to the script and works with the producer, DP, unit production manager (or line producer), to establish a shooting schedule, determine locations, and hire production crew. The director also collaborates with a casting director to cast the actors, usually subject to the producer’s approval. Decisions on costume and set design, cameras, and all other creative elements fall to the final approval of the director and are determined during preproduction.

In addition to directing action in front of and behind the camera, this person is responsible for rehearsing the actors, establishing their blocking, and coaching their performance. During post-production the director supervises editing, dubbing, looping, and any pick-up shots that must be added. He or she is ultimately charged with delivering the finished product on time and on budget.

Skills & Education

Numerous notable directors have been quoted regarding their notions of the necessity of film school; reviews are mixed. Yes, a certain natural talent is required, but if you’re not related to Ron Howard or the Weinstein brothers, a college degree in film and television production is a valuable addition of skills to that inborn talent. This education will give you the necessary technical expertise in the operation of production gear (cameras, lighting, audio recording, grip equipment), as well as the theoretical knowledge of the art and technique of filmmaking. Courses in still photography, literature, and theater can also be worthwhile to someone who is expected to direct and interpret story, images, and performance. As for on-set skills, directors need to inspire their troops to perform—an ability to delegate efficiently while managing to keep an eye on all the moving parts is a necessity.

What to Expect

Membership in the Directors Guild of America is a requirement to work for signatories of the organization, which most major studios are. Rarely does one fall into the director’s chair without significant prior experience in the film and television industry, but a talented few find success with independent productions that leverage their life savings against a risky dream. Tarantino gained fame from his appearance at the Sundance Film Festival with his self-written project, Reservoir Dogs; Steven Spielberg was an assistant editor (not credited) on Wagon Train; and James Cameron worked as a miniature model-maker at Roger Corman Studios. The trick is to get noticed, either by rising through the ranks of the production crew or through screenings of your own independent work. Passion is of the utmost importance; it will push you through the uncertain times and inspire your ability to create.

A film director's task is to envisage a way to translate a screenplay into a fully-formed film, and then to realize this vision. To do this, they oversee the artistic and technical elements of film production. This entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus even in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, thus, excellent communication skills are a must.

Since the film director depends on the successful cooperation of many different creative individuals with possibly strongly contradicting artistic ideals and visions, he or she also needs to possess conflict resolution skills in order to mediate whenever necessary. Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure". It adds to the pressure that the success of a film can influence when and how they will work again, if at all.

Generally, the sole superiors of the director are the producer(s) and the studio that is financing the film. The role of a director differs from producers in that producers typically manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio (such as the need to get a particular age rating).

Directors also play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut. In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission.

The director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that "20-hour days are not unusual". Some directors also take on additional roles, such as producing, writing or editing.

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.

Director Clint Eastwood on Million Dollar Baby / Photo Credit: Thomas Film Blog - Clint Eastwood

DEVELOPMENT EXECUTIVE IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Development Executive)

12 Stages of Film Making / Photo Credit: Slideshare

DEVELOPMENT EXECUTIVE IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Development Executive)

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

Development Executive in Motion Picture Production

Development Executives are responsible for finding and developing stories and screenplays that will make successful films. They might be for general release or festival screenings. They need to understand what makes a good film script and what will appeal to audiences. 

Their primary role is to find new talent. They have to cultivate creative relationships with many people in the industry from Screenwriters, Agents, Directors and financiers to Broadcasters, Sales Agents and Actors. Development Executives spend as much as fifty percent of their time attending Film Festivals and other industry events.

Screenplays can take years to complete, and in some cases another it might be ten years before they go into production. It’s up to the Development Executives to see the potential in a project, and oversee Screenwriters as they work up the screenplay into the best possible version. Development Executives should be able to read screenplays, analyze their strengths and weaknesses. They prepare clear Development Notes (Script Notes) to help Screenwriters address these.

Development Executives may employ Script Readers, and additional Script Editors. If employed by an Independent Producer or Production company they also have to make sure that the company always has good projects to package, finance and produce. If necessary, they should also be able to troubleshoot story difficulties and personality conflicts. In the worst cases they might have to stop projects if they are not working out. 

Development Executives may also be responsible for raising development finance. They may help with packaging films, and securing pre-sales and distribution agreements, to raise production finance. 

All Development Executives have to be on the lookout for new projects and writing talent. But their exact responsibilities depend on whether they are working for a small independent Producer, a larger production company, or a screen agency. In larger companies the work may be divided between Development Producers (or Executive Producers), Heads of Development, Development Executives and Script Developers.

A development executive must be able to search through a maze of scripts, project ideas, and stories, finding those precious few that may become the next Oscar-winning movie or Sundance Festival jewel.

Duties

Development executives handle the acquisition and development of stories, scripts, and screenplays into successful theatrical films. This process can take a minimum of three years; some screenplays spend as long as 10 years in development before going into production. The development executive must intimately understand the genre and tone, the fundamental construction and phraseology of film stories, along with the emotional effect various films have on an eclectic audience mix. As well, a great development exec can simultaneously read a script and estimate the budget required to produce the film. It is imperative that development executives be able to pinpoint a project with genuine possibilities and then manage the screenwriter(s) while they massage and cajole the screenplay into an optimum version. To facilitate this, the development executive must be able to read the story or script and understand its advantages and flaws vis-à-vis the production process, in order to create concise development or script notes for the screenwriters to use during rewrites. The development executive may employ script readers to help with the sorting process and script editors to work with the writer, helping them cultivate multiple projects. At times, development executives may be required to raise funding for projects from various sources including government, public, and private sectors.

Skills & Education

The key skills required of a film industry development executive are the abilities to discern a viable and profitable story, to create a team capable of turning the story into an excellent screenplay, and to secure financial backing to ensure the completion of the project to its fruition. This must all be handled with a depth of understanding, tact, and good will in order to please and placate a variety of individuals with enormous personalities and egos. Education advantageous to the development executive would be script and screenplay writing, some psychology courses on human behavior, and basic finance study.

What to Expect

The world of a development executive is one endlessly filled with script-reading, project development, and meetings to procure financial backing. A highly sought-after development executive is one who has a nose for a good story, can keep the entire process on an even keel, and can fill the project coffers with more than enough funding to sustain the entire production.

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

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.

12 Stages of Film Making / Photo Credit: Slideshare

COSTUME/WARDROBE DESIGNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Costume/Wardrobe Designer)

Historical concept costume sketches / Photo Credit: Twin Cities Art - Moria Sin Clinton

COSTUME/WARDROBE DESIGNER IN MOTION PICTURE PRODUCTION… (In the Entertainment industry. Costume/Wardrobe Designer)

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

Costume/Wardrobe Designer in Motion Picture Production

You can tell a lot about a character on the screen before a word of dialogue is uttered—if the costume designer has done a good job. Costumes reflect the character’s personality, culture, lifestyle, and environment; more than just dressing the actor, costumes aid the story and the performer’s immersion into the role. It is up to the costume designer to occupy the character’s psyche and reflect it in the actor’s wardrobe.

Being in charge of designing, creating, acquiring and hiring all costumes for Actors and extras

Managing a team of skilled personnel. Supervising practical issues, such as departmental budgets and schedules, the organization of running wardrobes, and costume continuity.

Costume Designers' work helps to define the overall ‘look' of TV productions and films and their role requires a great deal of expertise. This must be achieved within strict budgets, and to tight schedules.

They work closely with the Production Designer to make sure the costumes fit in with their overall vision and work with the chosen lighting and camera angles. They also collaborate with the hair and make-up team to make sure a cohesive look is created.

During pre-production, Costume Designers break down scripts scene by scene to work out how many characters are involved and what costumes are required. They then develop costume plots for each character. Plots ensure that colors and styles do not mimic each other in the same scene, and highlight the characters' emotional journeys by varying the intensity and depth of colors.

Costume Designers must carry out research into the costume styles, designs and construction methods suitable for the time period, using resources such as libraries, museums and the Internet. They may also discuss costume and character ideas with performers.

They deliver initial ideas to Directors about the overall costume vision, character plots and original costume designs, using sketches and fabric samples. They also discuss color palettes with the Director of Photography and Production Designer.

Costume Designers ensure that accurate financial records are kept and weekly expenditure reports are produced. They prepare overall production schedules, as well as directing the day-to-day breakdowns of responsibilities.

They choose and hire appropriate suppliers and Costume Makers, negotiating terms with them, and communicating design requirements (on a smaller-scale production a Costume Designer would be involved in both the design and the making processes).

They arrange fittings for Actors and extras. They supervise fabric research and purchase, and ensure that garments are completed to deadlines.

Depending on the numbers of costumes to be created and the scale of budgets, Costume Designers may decide to create a dedicated Costume Workshop.

They should be on set whenever a new costume is worn for the first time to make sure that performers are comfortable, to explain special features, and to oversee any alterations.

Once filming is completed, Costume Designers are responsible for the return of hired outfits, and the sale or disposal of any remaining costumes.

Costume designers may be required to work long hours; evening and weekend work may be involved when working to deadlines.

They can be based in a studio, office or home-based environment when designing and making the garments. Travel to locations for TV and film productions is common and they are often required to attend meetings at theatres or TV/film production companies.

Duties

As a member of the art department, the costume designer works with the director, production designer, and art director to design wardrobe for every actor, right down to the extras. The design process begins with a script breakdown and costume plot that details who wears what, and when. The garments must reflect the overall aesthetic vision of the production with complementary colors, textures, and styles. Once a plan for each piece of wardrobe is established, with consideration given to which pieces will be constructed and which will be rented or bought, the costumer establishes a budget and hires crew members and specialists.

Think of your favorite film and how the costumes reinforce the time period and location; often the wardrobe is just as identifiable and iconic as the performer wearing it. You’d be hard-pressed to find anyone who didn’t readily recognize Darth Vader’s helmet from Star Wars, or Mad Men’s 1960s-era sharp, tailored ad execs and curvy secretaries. The costume designer is responsible for supervising his or her staff through pattern-making, construction, and fittings. Everything from earrings to slippers is under the creative management of the costume designer.

Skills & Education

Strong artistic ability and impeccable fashion sense is a must. Costume designers may develop their talents through a formal education in fashion design, film and television production, or theatrical design. A college degree is not required, but you won’t get by with only good taste and great illustrations. In this job, you’ve got to be capable of taking the design from paper to wearable; that means sketching, making patterns, sewing, and everything in between. If you’re attracted to this position, you’re probably already a fashion fanatic, but it’s even more important to be a whiz-bang tailor. The reason that simple jeans-and-T shirt combo looks so perfect on Scarlett Johansson? A great body, yes, but also because it’s been fitted especially for her. You need to know how to make someone look 6 inches taller and 30 pounds lighter—or 6 inches shorter and 30 pounds heavier. It is also important to understand the technical elements associated with costume design for stage and screen: lighting, color theory, the strobing effect of patterns, and chromakey process. If you don’t have one already, get a sewing machine and start experimenting, then dive into every fashion magazine and inspirational source you can get your hands on.

What to Expect

Outrageous fashion statements are not the greater part of costuming, though you need to be able pull off a showstopper when required. The majority of costume designers toil away on sitcoms and contemporary films, pairing together jeans and T-shirts, dresses and suits that fit in rather than steal the eye. While fitting actors, you will come in close physical contact with the actors; you should always be sure your breath (and underarm area) is fresh, but be ready to overlook it if the actor’s isn’t. And keep in mind that you’ll be seeing people at their most vulnerable—unclothed, struggling into a pair of pantyhose or a girdle (that goes for actors and actresses both), exposing their flaws for you to fix; a reputation for discretion and kindness will make you a favorite and may get you more work.

Like most production jobs, this is generally a freelance career, but opportunities are available for staff positions on television series and within theatrical production companies, among others. It is your highly trained hands that will move you up the ladder, as your first post-assistant job may be as a stitcher, cutter, or tailor. From there advancement will depend on your aptitude for research and imagination, and your ability to interpret and execute the director’s vision.

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.

Historical concept costume sketches / Photo Credit: Twin Cities Art - Moria Sin Clinton