WHAT DOES A BOOM OPERATOR DO? (In the Entertainment industry. What Does a Boom Operator Do?)

DPA Microphones Mad Max Fury Road / Photo Credit: Mad Max - DPA Microphones

WHAT DOES A BOOM OPERATOR DO? (In the Entertainment industry. What Does a Boom Operator Do?)

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

What Does a Boom Operator Do?

Boom operators assist the production sound mixer by holding and operating a microphone attached to a long pole so that it is in the ideal position to capture the dialogue of the actors and other sounds. The boom operator decides where to place radio and clip microphones during recording and also assists with other sound equipment throughout productions.

Duties

The main duty of the boom operator is to find the best possible microphone placement to record dialogue or other sounds. The boom microphone, the boom operator’s weapon of choice, is held either by hand on a long arm (known in the industry affectionately as a “fishpole”) or mounted on a dolly that allows for greater movement. They also position microphones around the set or location, sometimes on the actors’ clothing, to ensure that the proper sounds are recorded while the unwanted sounds are minimized. As capturing the dialogue clearly is one of the boom operator’s key duties, becoming familiar with the script and “sides,” a small booklet of the pages to be shot that day, and memorizing the characters and their lines will help create a familiarity with what dialogue needs to be captured and how best to do it. Boom operators must also be familiar with planned camera movements and lighting so that the microphones remain in the camera’s safe zones and outside of the frame. A “boom in the shot” or an errant microphone shadow are the boom operator’s two worst nightmares. They often maintain and repair their sound equipment, so knowledge of electronics is almost as important as knowledge of acoustics. Boom operators are also expected to work closely with other members of the sound department and the camera crew, so being able to maintain good working relationships is extremely important.

Skills & Education

While there are no formal educational requirements to becoming a boom operator, a high school diploma is a basic prerequisite for employment; degrees or certifications from colleges, trade schools, and universities in programs like sound engineering or sound operation and design will allow potential boom operators to become familiar with the fundamentals crucial to the profession. Film school will also impart cinematic knowledge and help form networks necessary to succeed. As with any high-tech profession, continuing education is strongly recommended for those pursuing careers as boom operators. In addition to education, basic skills common to all successful boom operators include a cursory knowledge of electronics and sound recording equipment, excellent aural skills, strength and dexterity, memorization skills, good timing, attention to detail, and the ability to work with each different team involved in the filmmaking process.

What to Expect

A typical day for any boom operator includes showing up at the beginning of principal photography and becoming (and staying) familiar with the scenes, dialogue, camera movements, and lighting to be used during the shoot. Boom operators will then rehearse with the director, camera crew, and actors and make sure that the boom and other microphones are adequately concealed and placed in optimal locations. “Boom in the shot!” is something that no boom operator wants to hear on set, because few other exclamations can cause so much embarrassment, but it is not uncommon. For boom operators on the fishpole, hours holding it can cause great strain on the arms and the shoulders, so a supply of Bengay may be in order and sticking to a physical fitness regime is a good idea. Some of the perkss: on-set catering, working outdoors, and traveling to interesting locales for shoots. Some of the downsides? On-set catering, working outdoors, and traveling to interesting locales for shoots. Most boom operators’ work on a freelance basis; freedom and flexibility are some benefits of the job, but an aggressive savings plan is a smart move. Boom operators are often the first to arrive and the last to leave during shoots, so the days will be long, but rewarding for the right candidate.

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.

DPA Microphones Mad Max Fury Road / Photo Credit: Mad Max - DPA Microphones

WHAT DOES A BEST BOY GRIP DO? (In the Entertainment industry. What Does a Best Boy Grip Do?)

Dolly Tracks / Photo Credit: Disney - Kvibe

WHAT DOES A BEST BOY GRIP DO? (In the Entertainment industry. What Does a Best Boy Grip Do?)

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

What Does a Best Boy Grip Do?

The assistant to the key grip is the best boy, responsible for supervising the department technicians. This moniker applies to both male and female technicians, and is derived from the pre-union days of film when the elevated rank was granted conditionally to the best and brightest on the team.

Duties

The grip department on set is under the ultimate management of the DP, and is responsible for elements of scenery, lighting and camera movement. During preproduction the best boy may participate in ordering rental equipment and expendables and hiring personnel. During principal photography the key grip works closely with the DP to decide on the set-up and equipment necessary for each shot; it is then the best boy’s task to manage the crew in the use of light-cutting accessories like reflectors, gels, and diffusion equipment; the placement and operation of camera dollies and cranes; and the installation, movement, and strike of scenery.

The best boy also supervises crew through maintenance and repair of equipment and tracks inventory. He or she is responsible for ensuring that all rentals are returned on time, and that the right gear is in the truck and ready for each shot on the day’s schedule. In the event that a member of the crew is not pulling his or her weight, the best boy is tasked with correcting the behavior, and may be required to terminate the individual’s employment. Essentially, the best boy keeps the department running and the equipment working, allowing the key grip to concentrate on the needs of the DP.

Skills & Education

It is not required, but a college degree in film and television production is recommended. This education will give you both the theoretical and practical understanding of production, a firm knowledge of the gear, and experience that is invaluable to getting your first job. A grip should be mechanically inclined, and carpentry skills are useful; also, a good grasp of electricity is necessary. The International Alliance of Theatrical Stage Employees is the union that represents these technicians. IATSE also offers apprentice-training programs.

What to Expect

Grips work as freelancers on a per-project basis. In television you may have the opportunity to work as a staff technician for the series, or you may be contracted by episode. To rise to the rank of best boy, you will need several credits to your name working in the grip department. The contacts you make on each production are your first source of future gigs. Do your best to develop a close working relationship with any key grip who is willing to mentor you. If you are able to impress these veterans with your strong work ethic, eagerness to learn, and passion, you stand a far better chance of moving forward in your career. The best boy grip is expected to set an example for the rest of the crew; you’ve got to take the long hours, extreme environments, and stressful days with grace. You will make the key grip’s life much easier if you keep the little stuff out of his or her hair. Put down squabbles among the crew, anticipate needs, and always have the right tool for the right job (remember, gaff tape fixes everything). Never go anywhere without a Leatherman or Gerber, and always look for ways to work smarter, not harder. You will be a rock star if you save the DP an hour of daylight because your crew has the next shot’s rig prepped and standing by the second the director calls “cut.”

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.

Dolly Tracks / Photo Credit: Disney - Kvibe

WHAT DOES A BEST BOY ELECTRIC DO? (In the Entertainment industry. What Does a Best Boy Electric Do?)

Set Lighting / Photo Credit: Tumblr

WHAT DOES A BEST BOY ELECTRIC DO? (In the Entertainment industry. What Does a Best Boy Electric Do?)

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

What Does a Best Boy Electric Do?

Sometimes credited as the assistant chief lighting technician, the best boy (so called whether male or female) of the electric (lighting) department is the second in command under the gaffer. This role is not to be confused with the best boy grip, under the key grip.

Duties

The best boy is a supervisor responsible for ensuring that all required lighting equipment and appropriate personnel are on set for each shot—his or her most important piece of gear is a phone, not a pair of gloves. This person assists the gaffer in ordering expendables, arranging for gear rentals, and hiring electricians. When necessary, he or she is tasked with firing crewmembers. He or she also maintains detailed records with receipts for all expenditures of the electrics department. The best boy oversees the loading and unloading of vehicles and informs the crew which instruments and accessories to pull for every scene. On set, the gaffer and the director of photography will decide how a scene should be lit; it is then the best boy’s job to take those marching orders and lead the crew of electricians through pre-rigging the set, selecting the right lighting instruments, and ensuring that there is enough available power. This person is responsible for returning rental gear, signing off on the crew’s hours, and monitoring the department inventory for maintenance and repair.

Skills & Education

A best boy, like any electrician, must have a firm understanding of electricity, color, mathematics, and the lighting instruments used on set. Courses in film and television production, electrical engineering, and color theory are helpful. Experience as a set electrician is required to move up to a role as best boy. Work on student films and independent productions can build your résumé toward larger studio projects. These technicians are not certified electricians, but can be members of the International Alliance of Theatrical Stage Employees (IATSE), which offers an apprenticeship and journeyman program, as well as training toward certification with the Entertainment Services and Technology Association under the Entertainment Technician Certification Program.

What to Expect

To succeed as a best boy, you must be a highly skilled electrician, an excellent communicator, and organized enough to supervise several tasks at once. On set the hours can be long, work stressful, and conditions uncomfortable. One week you may be shooting in the Mojave, the next freezing your tail off in Toronto. You must be flexible and able to roll with the punches. The upside is that you have a front-row seat during principal photography. With experience a best boy can move up to gaffer, or land best boy gigs on bigger productions.

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.

Set Lighting / Photo Credit: Tumblr

WHAT DOES A BAND VIDEOGRAPHER DO? (In the Entertainment industry. What Does a Band Videographer Do?)

Videographer Multimedia Equipment / Photo Credit: APB

WHAT DOES A BAND VIDEOGRAPHER DO? (In the Entertainment industry. What Does a Band Videographer Do?)

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

What Does a Band Videographer Do?

Similar to the work of a unit videographer, a band videographer is a freelance cameraperson who is hired to capture footage of live performances on behalf of the artist or band for the purposes of promotion.

Duties

The process of securing a gig begins in an initial meeting, where the videographer makes a bid on the project that details a specific fee or hourly rate for a particular project, like one performance or three weeks of touring. When the client agrees, the two parties enter into a temporary contract for services. At this time, the specific responsibilities of the videographer are outlined. In addition to recording live shows, this person may also be tasked with editing the video, applying after effects, inserting title cards, editing sound, and submitting to the members of the band to approve drafts as well as the final cut. In a separate design meeting, the videographer will seek the band’s input on how they would like to be portrayed, the style, and mood of the video. The musical style of the group will greatly affect the finished product, so the videographer is interested in listening to the band’s material and obtaining copies of their set lists for each performance.

The band videographer will be given backstage access and should communicate with the venue manager and concert producer to secure permission for video recording. During the performance, he or she uses a handheld digital video camera with onboard audio package to capture as many angles and perspectives of the performance as possible; this is called coverage. The more material shot, the more options and freedom the videographer will have in the editing process, which is typically done using Final Cut or similar non-linear editing software. While the band rocks out, the cameraperson should take care to capture personality shots of each member of the group; that’s footage of one member at a time displaying his or her individuality, like a soulful guitar solo or lead singer wailing. The videographer also wants to capture the vibe of the show, the energy of the room. After the performance, this person will have a specified amount of time to turn around the complete video. Again, during editing and finishing, the band may request to see rough cuts and suggest changes.

Skills & Education

A college degree in film and television production or digital video production is not a requirement for taping local bands in dive bars, but to advance your career to working with major recording artists, formal training is required. The band videographer should be proficient in the use of several formats of digital cameras, as well as Mac and PC editing software. Use of audio editing tools like Pro Tools, Final Cut, or similar applications is also necessary. This career demands that the individual be familiar with the concepts of color, light, and techniques of framing a shot, so study of still photography and fine art is also beneficial. Of course, you are expected to provide your own gear for gigs, so do your research and invest in a camera, editing software, and audio/lighting package.

What to Expect

Contracts will vary greatly by client, but many videographers have standard forms, which they offer to all clients, then make small changes as necessary. You can find examples of these through several sources online. One mistake some rookies make is not allowing enough time to deliver quality editing. Do not be afraid to take your time. It is better to be on deadline than to turn in a quick job that is substandard. As for payment, it is common to require half of the total fee upfront, and half upon delivery of the final edit. In addition, you should carefully consider (and research) your copyright options. Some bands may be content with allowing you to own any future reproduction rights, while others will insist that the band must own all material once delivered. To start your freelance career, you can contact local bands in your area to offer your services. They may ask that you do a couple of free gigs to prove your chops, but if you prove yourself, word of mouth will spread quickly. Just make sure to bill your work out at a price that is equal to your experience.

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, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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.

Videographer Multimedia Equipment / Photo Credit: APB

WHAT DOES A BAND COORDINATOR DO? (In the Entertainment industry. What Does a Band Coordinator Do?)

Band Gear Coordinators / Photo Credit: American Events Production

WHAT DOES A BAND COORDINATOR DO? (In the Entertainment industry. What Does a Band Coordinator Do?)

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

What Does a Band Coordinator Do?

Those with a passion for music who also dream of working in television need not worry; there’s a career for that. Late night and variety television shows like Saturday Night Live or Late Show With David Letterman employ house bands as integral components; to manage the musicians, a uniquely skilled individual with specific education is needed to act as the go-between.

Duties

The band coordinator is responsible for wrangling the house band on a television show and making sure that the musicians are in the loop and prepared for the live performance; this person is the liaison between the performers and the network publicity department, writers, producers, and production crews. The band coordinator sets up schedules for rehearsals, promo spots, and live taping, and works with the music director to assemble the set list and distribute sheet music. When revisions are made to the sets, the coordinator is responsible for seeing that all musicians are kept up to date and assists in preparing cue sheets. For guest performances, he or she will collaborate with the music booker and arrange sit-ins with the house band.

On taping day, the coordinator assists the production staff in setting up the band’s stage area and distributes necessary information to the sound engineers. Additional responsibilities will vary, but may include helping to research licenses for performance of copyrighted songs and securing sheet music copies. Where necessary, the coordinator may also hire an arranger to transpose compositions for individual parts. If a member of the production staff is not assigned this responsibility, the band coordinator will be tasked with ensuring that the obligations of the band’s contract rider are met, and work with the show producers and performer’s management to resolve any conflicts.

Skills & Education

A college degree in a music concentration or film and television production is necessary; courses in music composition and recording arts are also helpful. The band coordinator must have the organizational skills to juggle competing priorities, but also the musical and technical know-how to aptly support and collaborate with performers and audio engineers. This person should be capable of breaking down a script for cues and reading sheet music. Experience in the music industry is very valuable, as is an understanding of music licensing and standard performance contracts.

What to Expect

This job is usually offered as a run-of-show contract, and is a full-time role. Previous experience in record label A&R or talent booking in clubs is excellent preparation for this gig, which can transition into future work in film and television such as music supervision, music direction, or talent booking for television programs. Rehearsal and production schedules on daily programs are intense; changes are made frequently, on the fly, and at the last minute. You should be prepared to run at a high, constant pace with little downtime. Flexibility and the ability to roll with the punches are required personality traits; if you prefer routine, this isn’t the gig for you. However, if you thrive in a fast-paced environment and work best on your toes, you’ve met your match.

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, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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.

Band Gear Coordinators / Photo Credit: American Events Production

WHAT DOES AN ASSISTANT SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What Does an Assistant Sound Effects Editor Do?)

Sound Effects / Photo Credit: A Sound Effect

WHAT DOES AN ASSISTANT SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What Does an Assistant Sound Effects Editor Do?)

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

What Does an Assistant Sound Effects Editor Do?

Without the noises and sounds that accompany all physical action in real life, a movie or television show lacks the reality that our brains expect and need in order to fully become immersed in the viewing experience. The sound effects editor works under the direction of the supervising sound editor and is responsible for manufacturing, recording, and editing all sound effects tracks included in a film or TV show.

Duties

Immediately upon being hired, the sound effects editor begins work on the script breakdown: making detailed notes identifying all sounds specifically mentioned in the script or implied by the action. Sound effects fall under four basic categories: hard sounds, background, Foley, and design. Most hard sounds and background can be sourced from sound effects libraries, which exist as digital files or on CDs and are carefully cataloged with precise descriptions. All production companies and motion picture studios have their own unique libraries, and a veteran SFX editor will have his or her own collection of recorded material. These sound effects are used to replace “dirty” (that is, unusable) sound recorded during principal photography, or to include as supplemental noises that enhance the environment but do not correspond to specific action visible on screen (for instance, wind and insect noise added to an exterior shot). Where Foley sound must be created, the sound effects editor will collaborate with the Foley artist to recreate natural sounds on a Foley stage, which is then synchronized with the visual action in the picture.

Designed sound is any unnatural audio that cannot be captured from real life. To represent the sound a spacecraft might make while hovering above the ground or a giant fairy-tale beanstalk bursting from the earth, the SFX editor will manipulate other recorded sounds or synthesize new audio tracks with the use of digital audio software. During the process of editing sound effects tracks, the sound effects editor meets with the director and sound designer to showcase work completed thus far and receive notes on elements to alter or replace. When all tracks are complete, the sound effects editor is responsible for delivering SFX cue sheets and tracks to the post-production sound mixer. He or she will be present in final reviews of post-production sound with the final picture edit, at which point further changes may be made until the director and producer are happy with the result.

Skills & Education

A college degree in film and television production with an emphasis on sound recording and post-production editing is encouraged. Coursework should include dubbing, automatic dialogue replacement, music editing, sound effects editing, and Foley recording. Additional training on both analog and digital recording consoles, as well as software applications like Pro Tools, is necessary. Every sound effects editor should own a synthesizer and become familiar with the tools and techniques common to the trade. This career requires a technically savvy individual with a keen ear for sound and the creative capacity to deliver audio that emphasizes and complements the moving images on screen.

What to Expect

A sound effects editor may work as a freelance technician or as a permanent employee of a post-production sound studio. Those interested in pursuing this career should seek apprentice or entry-level positions within the sound department of an independent or low-budget project in order to gain experience and build a résumé. Specifically, try to concentrate your efforts on finding work within a post sound studio where you can work full-time or part-time under the mentorship of an established veteran. Participation on student films while in college is an excellent way to hone your skills. Work as an assistant sound effects editor or intern can provide a path toward advancement.

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, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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.

Sound Effects / Photo Credit: A Sound Effect

WHAT DOES AN ASSISTANT SCRIPT SUPERVISOR DO? (In the Entertainment industry. What Does an Assistant Script Supervisor Do?)

Script on Set / Photo Credit: Nevada Film Office

WHAT DOES AN ASSISTANT SCRIPT SUPERVISOR DO? (In the Entertainment industry. What Does an Assistant Script Supervisor Do?)

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

What Does an Assistant Script Supervisor Do?

Most film and television productions will employ only one script supervisor, but large projects can require an assistant to help shoulder some of the responsibilities of that position. This person is hired by the script supervisor and will support him or her in maintaining records and processing script changes during principal photography. Usually considered part of the camera department, script supervisors are occasionally work independently as a separate department.

Duties

The assistant script supervisor (script assistant) will not oversee filming but shall work under the direction of the script supervisor to complete numerous related tasks during production. Among the responsibilities of this position are collecting and transcribing script revisions, disseminating those changes to department heads, as well as transferring continuity notes to the corresponding page colors. Each new revision of the shooting script is printed on a different color of paper, in order to identify old versions from the current shooting script. In connection with revisions, the assistant script supervisor must recalculate the scene totals and one-eighth breakdown, which is a measurement of inches of the page used to determine scene length. As filming proceeds, this person is responsible for checking prints with the sound and camera department to ensure accurate labeling and corresponding notes for the editor. The assistant is most often delegated the task of preparing the editor’s lined script from the supervisor’s pages and must transcribe dialogue changes. On a daily basis, he or she will file all pertinent information in the master editing script.

While on set, the assistant will participate in taking photos for the purpose of ensuring continuity of each scene for pick-up shots or retakes and is responsible for maintaining the catalogues of those photographs in an organized manner. If deemed appropriate, the assistant script supervisor may run lines (rehearse dialogue) with the actors in preparation for filming. This person is charged with maintaining forms and supplies of the department and may be delegated the typical office tasks such as making copies, procuring materials, and similar duties. If the assistant is required to work on a second unit production team, he or she is upgraded to a department head.

Skills & Education

The position of an assistant script supervisor requires an individual with an obsessive attention to detail that is capable of meticulous note taking amidst numerous distractions. Most important will be this person’s capacity to accurately transcribe information quickly and to ensure exact consistency. A college degree in film and television production is recommended, as this person must be knowledgeable about the filming process and able to communicate with the sound and camera departments concerning continuity. Understanding how to break down a script for the preparation of editors’ notes requires specific training that can be gained as part of a degree program or through mentorship under a veteran script supervisor.

What to Expect

Time will be split between working on set to cover continuity photographs and completing notes and script revisions in the production office. This is most often a freelance career. You should anticipate irregular hours based on the shooting schedule, and travel may be necessary when working on location. This position is a natural steppingstone toward work as a script supervisor, and prior experience as a production assistant within the production office is useful. Some films and television series offer work for script trainees who are allowed to serve under the direction of the script assistant and will receive dedicated training and mentorship toward promotion. Most trades within film and television are learned through apprenticeship, as this has been the practice since the inception of the industry. Script supervisors and assistants are eligible for membership in IATSE, the union that represents artists and technicians working in entertainment 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, Huffington Post, Backstage, The Balance Careers, Sag Indie, Northern Star,

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.

Script on Set / Photo Credit: Nevada Film Office