WHAT DOES A COSTUME BUYER DO? (In the Entertainment industry. What Does a Costume Buyer Do?)

Costume House / Photo Credit: Angels - Daily Mail

WHAT DOES A COSTUME BUYER DO? (In the Entertainment industry. What Does a Costume Buyer Do?)

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

What Does a Costume Buyer Do?

A copyist is a person who makes copies.

The costume buyer makes a living shopping for clothes for film and television stars, but there is more to it than racking up an impressive bill on the department’s credit card. This person is the conduit through which the designer sources his or her materials, scours L.A. for the perfect bomber jacket, and pulls together the look that defines a character.

Duties

Working under the supervision of the costume designer, the costume buyer is responsible for purchasing all necessary materials for the construction of original wardrobe pieces, as well as renting existing articles from costume shops; this includes fabric, fasteners, thread, and accessories. Based on the designer’s sketches and color pallet, the buyer is sent to collect fabric samples for final approval. He or she will offer the designer several options to choose from, as the concept may be altered based on new inspiration of a particular material.

After the designer has made his or her selections, the buyer works with vendors to negotiate rental rates and purchase prices and will oversee the pickup or delivery of all materials. It is also the buyer’s job to monitor the budget and maintain accurate accounting records. Once the production has wrapped, the buyer is responsible for returning any rental items in a timely manner.

Skills & Education

An education in film and television production or theatrical design is beneficial to this career. A degree in fashion is also relevant to a career in costuming. A qualified costume buyer must be knowledgeable about the process of clothing construction, though fabrication is not a duty of this job. Likewise, a thorough understanding of fabrics is necessary. There is a difference between silk chiffon and silk charmeuse; the designer knows this, and so should you. This career requires an individual with an exceptional attention to detail, whether it is selecting just the right brass rivets or tracking pennies in the budget.

What to Expect

Many costume buyers come from the ranks of seamstresses, dressers, and set costumers. As such, buyers tend to be highly versatile people with technical talent, as well as leadership and organizational skills. To be considered for such a role, the individual must have professional credits within a costume department but also must have won the respect and trust of the costume designer. The designer relies heavily on the buyer being a capable and resourceful person. A buyer who can’t keep accounts in order or the shipments arriving on schedule will hold up the entire department. Costume buyers have the ability to work in film, television, and theatrical production, as the responsibilities and pre-production processes are similar.

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, Production Beast, Sony Pictures,

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.

Costume House / Photo Credit: Angels - Daily Mail

WHAT DOES A COPYIST DO? (In the Entertainment industry. What Does a Copyist Do?)

Copyist Film and TV / Photo Credit: Berklee College of Music

WHAT DOES A COPYIST DO? (In the Entertainment industry. What Does a Copyist Do?)

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

What Does a Copyist Do?

A copyist is a person who makes copies.

The term is sometimes used for artists who make copies of other artists' paintings. However, the modern use of the term is almost entirely confined to music copyists, who are employed by the music industry to produce neat copies from a composer or arranger's manuscript.

The state of Ludwig Van Beethoven’s immortal legacy of compositions is a terrible tragedy. His combative relationship with his copyists is well-documented; their work was often sloppy and plagued by mistakes. The hatchet job on his music has persisted, despite the efforts of historians and musicologists to return the compositions to their intended glory, and it is impossible to know how badly corrupted are the orchestrations. A good copyist is dedicated to the meticulous preservation and reproduction of a composer’s art. A bad copyist is like graffiti on a Picasso.

Until the 1990s, most copyists worked by hand to write out scores and individual instrumental parts neatly, using a calligraphy pen, manuscript paper, and often a ruler. Producing parts for an entire orchestra from a full score was a huge task. In the 1990s, copyists began using score writers - computer programs which are the music notation equivalent of a word processor. (Such programs include Sibelius, Finale, Muse Score or GNU Lily Pond). Score writers allow the composer or songwriter to "enter" the melodies, rhythms and lyrics to their compositions into the computer using a mouse or by playing the notes on a MIDI-equipped keyboard. Once a composition is fully entered into a score writing program, the computer can be instructed to print out the parts for all of the different instruments.

Both handwritten and computer-based copying require significant understanding of musical notation, music theory, the musical styles and conventions of different styles of music (e.g., regarding appropriate ornamentation, harmony rules pertaining to accidentals, etc.), and strong attention to detail and past conventions. Ludwig van Beethoven had a contentious relationship with his copyists, who often made mistakes that remained uncorrected until the advent of Urtext editions; some musicologists have devoted a lot of effort to identifying Beethoven's copyists.

Duties

Music preparation, also called copying, is the act of taking a fully orchestrated score and transposing it for each individual instrument and voice. Rather than giving every player a sheet containing the parts for a dozen instruments, the copyist documents pages of music specific to each section and soloist. This copyist’s work provides entrance cues for the players and other signposts to ensure that musicians can properly follow the score. Depending on the length of the composition (or cue being recorded) the individual parts may be only a few staves or several pages. As the copyist prepares the transpositions, he or she will bind the collection to be provided to the composer, conductor, music editor, and (where applicable) the music publisher. In some cases a copyist may be asked to create sheet music based on a recording, without any written material provided. In this scenario he or she must be especially skilled in music theory and notation, and have an ear sharp enough to recognize harmonies and individual parts. This person can also be called upon to assist an arranger or orchestrator for purposes of revising existing work.

Skills & Education

A formal education in music is not required, but it is the best way to fully develop your technical abilities. Unlike musicians, there are very few self-taught copyists or music engravers. An advanced degree in music theory and composition is highly recommended. A copyist must be proficient in reading and writing music for different clefs, and skilled at transposing a score for different instruments and voices. The ability to play one or more instruments is necessity—especially piano. The practice of scoring and copying compositions by hand is becoming less common (though still an important skill), so practice in the use of software like Sibelius and Finale is crucial.

What to Expect

Copyists have the opportunity to work in music publishing, film and television, games, and for symphony orchestras—any medium that has the need for a composer. This is an entry-level career (with necessary education) with potential to progress as an arranger, orchestrator, or composer. Often the copyist acts as an assistant and apprentice while studying toward these advanced roles; it is common for musicians, students, and songwriters to work as part-time copyists. In film/TV recording it is typical for the copyist to face short turnarounds (a few hours) between receiving the score and producing the cue sheets. This person must be capable of quickly churning out work that is carefully edited and accurate.

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, Production Beast, Sony Pictures,

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.

Copyist Film and TV / Photo Credit: Berklee College of Music

WHAT DOES A CONSTRUCTION FOREMAN DO? (In the Entertainment industry. What Does a Construction Foreman Do?)

Main House set When a Stranger Calls / Photo Credit: Sony Pictures- YouTube - Bruce Bisbey

WHAT DOES A CONSTRUCTION FOREMAN DO? (In the Entertainment industry. What Does a Construction Foreman Do?)

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

What Does a Construction Foreman Do?

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.

Set construction is the process undertaken by a construction manager to build full-scale scenery, as specified by a production designer or art director working in collaboration with the director of a production to create a set for a theatrical, film or television production. The set designer produces a scale model, scale drawings, paint elevations (a scale painting supplied to the scenic painter of each element that requires painting), and research about props, textures, and so on. Scale drawings typically include a ground plan, elevation, and section of the complete set, as well as more detailed drawings of individual scenic elements which, in theatrical productions, may be static, flown, or built onto scenery wagons. Models and paint elevations are frequently hand-produced, though in recent years, many Production Designers and most commercial theatres have begun producing scale drawings with the aid of computer drafting programs such as AutoCAD or Vector works.

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.

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, Production Beast, Sony Pictures,

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.

Main House set When a Stranger Calls / Photo Credit: Sony Pictures- YouTube - Bruce Bisbey

WHAT DOES A CONSTRUCTION BUYER DO? (In the Entertainment industry. What Does a Construction Buyer Do?)

Max Res Default Titanic Movie Set / Photo Credit: James Cameron - YouTube

WHAT DOES A CONSTRUCTION BUYER DO? (In the Entertainment industry. What Does a Construction Buyer Do?)

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

What Does a Construction Buyer Do?

Hired during pre-production of a film, television show, or live production, the construction buyer works under the direction of the construction coordinator and construction foreman to source all materials necessary to complete the build of set pieces and scenery. Analyzing the script and creating a list of all props and a schedule of when they are needed. Sourcing, ordering or buying props and managing the budget as well as Replacing or supplying any props needed during shooting.

Duties

Based on the scenic plans drawn by the set designer or draftsperson, the construction coordinator and foreman determine all materials required to execute the design; this includes conventional products like lumber and wood screws, as well as unconventional materials such as foam and scrim fabric. A detailed estimate of the quantities of each product is recorded, as is an itemized budget allowance. That information is then given to the construction buyer so that he or she may conduct research to determine where the materials can be purchased from and for what price.

When working in familiar territory like Los Angeles or New York, the buyer is generally familiar with vendors and simply places a few calls to obtain quotes based on the shopping list. Productions that take place on a motion picture lot may opt to use the on-site expendables store. However, when working in an unfamiliar location, it may take longer for the buyer to obtain all of the required goods. The same can be true when trying to purchase rare or uncommon materials that may need to be sourced from specialty shops. These orders will take considerably more research and logistical planning on the part of the buyer. With the price quotes returned, the buyer receives approval to make the appropriate purchases and will handle establishing a billing method with the vendor. This person will also arrange for pickup and delivery of materials to the scenic shop or shooting location.

Production Buyers usually start work two weeks after the Set Decorator. They mark up (make notes on) the script and make a list of all the props needed. There are two types of props: action props, which are described in the shooting script; and dressing props, which give a certain atmosphere and sense of period to a place or set. After this list has been checked with the Set Decorator, they both visit or contact various prop houses to make provisional bookings.

Once the schedule is fixed, Production Buyers begin an intense period of work preparing orders for thousands of props, working out dates and durations of hire to minimize costs, and confirming collection and return dates with the Props Master.

Using Excel spreadsheets, Production Buyers produce weekly budgets for the Production Accountant so that all spending can be closely monitored.

On low to moderate budget period dramas where no Assistant Set Decorator is employed, Production Buyers may also help with some Art Department research. Using books, magazines and the internet they help the Set Decorator choose suitable props.

While sets are being decorated, Production Buyers work at the studio or on location, helping with any last-minute requests from the Set Decorator, using their expert knowledge of suppliers and hire companies to find specific items.

Throughout the shoot, Production Buyers continue to source any other props needed and oversee all collections and returns. They are also responsible for the Art Department petty cash, which must be carefully monitored and reconciled at the end of each production.

Production Buyers work on a freelance basis, usually on both television and film productions. The hours are long and the job can involve long periods working away from home.

Skills & Education

The construction buyer’s worth is in his or her ability to track down common and uncommon items on an extensive shopping list while keeping the bill under budget and ensuring that the delivery arrives on time. For this, a thorough knowledge of construction materials and techniques is required, as is a familiarity with the typical costs of such products. The buyer should be capable of effectively maintaining a budget record, and therefore must be highly organized and proficient in the use of spreadsheets and accounting software. A college degree in film and television production or theatrical design is beneficial but not required. This position demands an individual who understands the scenic construction process, can manage related logistical concerns effectively, and is knowledgeable about vendors serving the craft.

What to Expect

Most gigs are routine in that the buyer understands the materials list and knows exactly where to purchase such goods. However, occasionally the buyer is thrown a curveball and must devise creative solutions when a major component of the set design is unavailable or in short supply. Under such circumstances, this individual must be resourceful and clever to meet the production timeline and stay on budget. Another important facet of the career is maintaining positive relationships with vendors; making mutually beneficial contacts allows the buyer to drive business to colleagues while achieving the best possible rates for the construction crew. Buyers often graduate to this role after gaining experience as a scenic carpenter or lead carpenter or through previous employment in the art department. This is often a freelance position, though opportunities for full-time employment also exist within third-party scenic shops that cater to the entertainment industry.

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, Production Beast,

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.

Max Res Default Titanic Movie Set / Photo Credit: James Cameron - YouTube

WHAT DOES A CONCEPT ARTIST DO? (In the Entertainment industry. What Does a Concept Artist Do?)

Predator Concept Art by Stan Winston / Photo Credit: Film Sketchr - Stan Winston

WHAT DOES A CONCEPT ARTIST DO? (In the Entertainment industry. What Does a Concept Artist Do?)

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

What Does a Concept Artist Do?

Within the art department of a film or television production, a concept artist aids designers in the rendering or drafting necessary to clarify ideas for the construction of props, scenery, costumes, and visual effects elements.

Concept art is a form of illustration used to convey an idea for use in films, video games, animation, comic books, or other media before it is put into the final product. Concept art usually refers to world-building artwork used to inspire the development of media products, and is not the same as visual development art or concept design, though all three are often confused.

Concept art is developed through several iterations. Multiple solutions are explored before settling on the final design. Concept art is not only used to develop the work, but also to show the project's progress to directors, clients and investors. Once the development of the work is complete, concept art may be reworked and used for advertising materials.

Duties

A concept artist, sometimes referred to as an illustrator, can take an abstract idea and turn it into a tangible, visual representation. At the request of any member of the art department or related department (costume, props, visual effects, etc.) or on behalf of the director and producer, the concept artist provides sketches, paintings, or visual depiction in another medium that demonstrate the designer’s vision of a production element. For example, the set designer may need drawings of a building’s façade, or the special effects makeup artist and director may want to see several different renditions while trying to narrow down the look of an alien character. If the director asks for a bridge, the concept artist is expected to deliver every different interpretation of a bridge matching the director’s description.

By participating in brainstorming meetings with the director and designers, the concept artist is able to focus in on the keywords of the idea and then retreat to his or her workspace to produce multiple versions of the necessary drawing. He or she will experiment with different color palettes and styles; the parties involved will choose the iterations they prefer and offer suggestions for revision. The concept artist will repeat this process, paying careful attention to feedback, until a final concept is agreed upon.

Skills & Education

A college degree in studio art is recommended, including coursework in drawing, painting, sculpture, photography, and art history. Also encouraged is the study of anatomy, in order to accurately replicate human and animal forms, and the study of architecture, to provide a strong foundation for illustrating buildings and other structures. Just as important as artistic talent is the ability to assimilate a few abstract ideas into a clear, expressive drawing. It is the concept artist’s job to help the designer or director to clarify and refine his or her vision to the other members of the team. Quick hands are also a benefit, as the concept artist works under tight deadlines.

What to Expect

Concept Artists work on big budget sci-fi, fantasy or historical films where visual and special effects create design spectacles, fantastical creatures or other invented elements. There are usually a number of Concept Artists, each working on a specific element, e.g., a fantastical creature and/or scene.

Concept Artists start work at the beginning of pre-production, up to six months before filming is due to begin.

If the screenplay is an adaptation (for example, of a book), they analyze the descriptions in the original source material. They may work with Specialist Researchers who also help source and supply relevant information and materials.

Concept Artists work in the art department studio alongside Draughtsman and Specialist Researchers and often produce their drawings on a computer using Painter or Photoshop software. After approval by the Production Designer, the drawings are presented to the Producer, Director and Visual Effects Co-ordinator.

Concept Artists must produce illustrations that are striking but also accurate and clear. They work on illustrations throughout the shoot and may often be required to change and adapt their original ideas as filming progresses.

They may also be involved in the development process, producing a series of illustrations that help to sell the film to potential Financiers and/or Distributors. Concept Artists work on a freelance basis. Their role is highly specialized and there is a limited demand for this work.

By nature of the work, a concept artist is afforded a great deal of creative freedom. However, you should understand that your responsibility is to depict the ideas of others. How much latitude you have to explore each design in the creation of concept art will depend on whom you are working for, thus it is important to quickly adapt to the methods of each designer separately. To pursue a career in this field, take any entry-level position within the art department. Consider looking for roles as an assistant or apprentice; union productions can offer structured internships to those interested in learning the trade of production art design. Roles in the art department are available to freelancers or to permanent employees of a scenic studio, visual effects house, or a similar business. To present yourself to potential employers, you must compile a polished portfolio of your work. The portfolio should demonstrate your command of artistic technique and numerous styles, as well as your own artistic flair.

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, Production Beast, Film Sketchr, Stan Winston, https://www.stanwinstonschool.com/

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.

Predator Concept Art by Stan Winston / Photo Credit: Film Sketchr - Stan Winston

WHAT DOES A COMPOSITOR DO? (In the Entertainment industry. What Does a Compositor Do?)

3d model blending CGI / Photo Credit: Quora

WHAT DOES A COMPOSITOR DO? (In the Entertainment industry. What Does a Compositor Do?)

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

What Does a Compositor Do?

The world of CG relies on the wizardry of compositors, who work in most areas of animation and post-production and are responsible for creating the seamlessly integrated combination of live action, computer graphics, and visual effects for film and video. Compositors work at the end of the production process to join the creative efforts of the team into a cohesive and seamless final product.

They are responsible for constructing the final image by combining layers of previously created material. Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual Effects), Compositors need a thorough understanding of the CG process combined with relevant artistic skills.

Duties

Compositors really do it all, so it’s crucial that they have an intimate knowledge of the CG process from start to finish, and considerable artistic skills to boot. Working at the end of the production process means that they receive materials from other parts of the pipeline, including rendered computer animation, graphics, special effects, live action footage, 2-D animation, and static background plates, just to name a few elements that compositors commonly deal with. The job of the compositor is to see that all these elements are united in a way that maintains a similar style and continuity for the final image. Compositors achieve this continuity by working closely with other members of the team to make sure that lighting is perfect, color levels and blacks match while shadows are convincing and blended, grain is added where appropriate, motion blur is added if needed, mattes are created if necessary, and rotoscoping is completed. Compositors work closely with lighting technical directors, rotoscope artists, and render wranglers to ensure that the project continues unhindered through the pipeline until the final fixes are performed. Compositors need considerable knowledge of many types of software, and should be a combination digital wizard, artistic genius, and relentless perfectionist comfortable with taking orders, giving orders, and coordinating team efforts into a polished finished product.

Skills & Education

A career as a compositor is not likely to fall into your lap; a common way to get started is with a degree from an accredited institution in arts or design, such as painting, photography, drawing, illustration, design, or computer animation. Compositors will immediately need extensive knowledge of the latest compositing software such as Shake and After Effects, as well as proprietary software and programs like Photoshop, Maya, Combustion, Inferno, Flame, Amino, Opus, and other software common to the 2-D and 3-D animation processes. Artistic skills are also necessary—the elements of composition, lighting and shadow, and color. Because compositing is done in a team environment, compositors need great communication skills along with a keen eye for detail and a commitment to hard work. Compositors must also be able to work with minimal supervision and be flexible when changes have to be made. Compositors usually earn their position after years of working in other areas of the animation process, and an expansive knowledge of this process will be the compositor’s most important asset.

What to Expect

Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names.

All compositing involves the replacement of selected parts of an image with other material, usually, but not always, from another image. In the digital method of compositing, software commands designate a narrowly defined color as the part of an image to be replaced. Then the software replaces every pixel within the designated color range with a pixel from another image, aligned to appear as part of the original. For example, one could record a television weather presenter positioned in front of a plain blue or green background, while compositing software replaces only the designated blue or green color with weather maps.

You can expect to find a healthy and competitive job market. A show reel will be necessary just to get in the door; and references and experience sometimes help just as much as academic training. Compositors usually attain their position after years in the department as rotoscope artists or render wranglers, and if you show initiative and talent, can often work your way up the ladder to become a sequence supervisor, compositing supervisor, or even VFX supervisor. You should expect years of hard work to get there, which will give you time to harness the artistic, technical, decision-making, and problem-solving skills that will be used every day on the job.

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, Production Beast

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.

3d model blending CGI / Photo Credit: Quora

WHAT DOES A COMPOSER DO? (In the Entertainment industry. What Does a Composer Do?)

Black Beauty Score / Photo Credit: Oingo Boingo

WHAT DOES A COMPOSER DO? (In the Entertainment industry. What Does a Composer Do?)

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What Does a Composer Do?

Obsession is a good beginning. Composers must be infatuated with every note: the pitch, the subtle undulations, the magnificent crescendos. These artists do not write songs, they craft aural experiences that persuade emotion. When combined with images on the screen, the composer’s efforts trigger audience responses of fear, sorrow, elation, and pride.

Duties

Composing is a solitary pursuit; the vast majority of the artist’s work is performed alone in a home studio, at the piano or computer screen. The process is part passionate experimentation and part frustrating torture, as these individuals are responsible not only to their muse but to the whims of the film’s director and/or producer. Like writers, composers’ labor over single stanzas through dozens of iterations until the notation on the page reflects the symphony in their head. When this person is commissioned, he or she may be given some basis of inspiration to draw from ahead of time—a script, film or video footage, or storyboards—but often the composer is the last on board and works to a finished, edited film. From this material and collaboration with the director and producer, the composer cultivates a sense of time, place, action, and emotion, which must be reflected and translated through the score. The time allotted to write the score, which may include dozens of individual pieces of music called cues, varies by project and genre. Budget constraints will determine whether the score is purely synthesized or played by an 80-piece orchestra.

When the master themes are complete, the composer enlists the assistance of an orchestrator to transpose individual instrumental parts for performance. Once music is ready to be recorded, the composer works with the music contractor to hire the appropriate musicians, then leads the orchestra in several takes of the performance on a scoring stage. Edited scenes of the film or video are displayed on a large screen for playback and the music is timed to the images. Composers are aided by a click track and must pay attention to time code documentation to ensure that the violins are hitting the high note and timpani resonates in perfect step with the climax on screen.

Skills & Education

Composers usually have an extensive education in music theory, composition, and performance; a bachelor’s degree is valuable, but an MFA is better. It is expected that these artists are proficient in playing at least one instrument, usually piano. Most degree programs designed for future composers will have components relating to orchestral conducting, writing for voice, tonal harmony, scoring, and a thorough study of music history. Also helpful are courses that focus on recording, composition software, and music business. It is highly recommended that you become familiar with the laws concerning copyright, licensing, and the role of music publishers. Above all, a composer has an inherent talent, distinct creative voice, and well-tuned ear for melody.

What to Expect

The standard path toward becoming a full-fledged composer was to apprentice under a professional to learn the trade techniques; trainee compose cues for their mentor-employer (usually for television shows) which are credited to the more established composer. However, the Society of Composers and Lyricists has instituted an alternative apprentice program to grow the talents and experience of associate members. Video games are a new source of career opportunities for composers; as games become more cinematic and elaborate, some developers have begun hiring composers to create original accompaniment to the game. Many composers have evolved into the role through work as a copyist, arranger, or orchestrator. To properly manage your career and ensure that your rights as an artist are protected, composers are advised to secure agency representation. Membership with a performing rights organization like BMI is a must in order to receive performance royalties when the show or movie appears on television. Most, if not all, film scores are written as work for hire—the composer receives a one-time fee for the work but does not own the publishing rights, which go to the studio. Maintain a friendly relationship with a relations exec at your performing rights organization, and you’ll have a valuable resource for thorny questions of ownership. Business aside, don’t neglect your creativity nurture it with travel and curiosity for all forms of music.

A film score (also sometimes called background score, background music, film soundtrack, film music, or incidental music) is original music written specifically to accompany a film. The score forms part of the film's soundtrack, which also usually includes pre-existing music, dialogue and sound effects, and comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers, under the guidance of, or in collaboration with, the film's director or producer and are then usually performed by an ensemble of musicians – most often comprising an orchestra or band, instrumental soloists, and choir or vocalists – and recorded by a sound engineer.

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. The majority of scores are orchestral works rooted in Western classical music, but many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.

Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of live instruments, and many scores are created and performed wholly by the composers themselves, by using sophisticated music composition software.

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, Production Beast

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.

Black Beauty Score / Photo Credit: Oingo Boingo