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

Costumes costumer / Photo Credit: Meningrey

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

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

What Does a Costumer Do?

A costumer is an assistant to the costume designer who works in theatrical production, as well as film and television. This person begins work during pre-production, participates in the processes of research and sourcing materials, and then works on through to the delivery of the wardrobe to the stage or location set.

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

The precise responsibilities of the costumer will vary greatly depending on the scale of the production. Among the first tasks will be conducting research concerning the appropriate style of dress and types of materials required for the time period and location of the show. This research is to assist the designer in producing sketches that are authentic and believable within the context of the story. As instructed, this person will contact vendors to seek out necessary materials such as fabric and fasteners, and retrieve cost quotes. If a buyer is not hired onto the crew, the costumer is then responsible for shopping and completing purchase orders for costume department goods. During the fabrication phase, the costumer will assist the designer and other craftspeople with costume breakdown and ageing of the garments, as well as laundry and ironing. For costumer’s who are assigned to work during production, he or she will be similarly responsible for wardrobe care and maintenance until the end of the stage show’s run or until principal photography has wrapped. Additional tasks may include dressing of extras or background performers and transportation of department equipment.

Skills & Education

A college degree in theatrical design with a concentration in costume design and fabrication is appropriate to this career, as is a major in film and television production. Study should include the proper techniques for garment construction, as well as the use and care of fabrics. Naturally, the costumer must be proficient in sewing, as well as processes like dyeing, painting fabric, distressing, and others. As this position requires one who is familiar with the fashion trends of numerous periods, study of art history and world cultures is beneficial. Additional courses in fine art and photography are also helpful. The costumer must have great attention to detail and take direction well. The ability to work efficiently under minimal supervision is highly desirable.

What to Expect

The role of the costumer is one of several entry-level positions within the costume department, including the stitcher, dyer, painter, and costume craftsperson. Experience within this role can lead to advanced positions as a milliner, buyer, set costumer, and assistant costume designer. Employment opportunities are available within costume studios that cater to the entertainment industry, as well as within costume shops of resident theatrical companies. Freelance positions exist for those who wish to work in theater, as well as film and television production. To begin a path toward professional work, you may build your résumé through experience in college productions or as a volunteer with local community theaters. Costumers are eligible to become members of IATSE, the union that represents technicians and artists working in multiple facets of 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, 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.

Costumes costumer / Photo Credit: Meningrey

WHAT DOES A COSTUME SHOP MANAGER DO? (In the Entertainment industry. What Does a Costume Shop Manager Do?)

Costume Shop Managing / Photo Credit: Marden Tro - Russia

WHAT DOES A COSTUME SHOP MANAGER DO? (In the Entertainment industry. What Does a Costume Shop Manager Do?)

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

What Does a Costume Shop Manager Do?

Under the general direction of the Production Manager, the Costume Shop Manager/Designer plans and supervises the general operations of the Costume Shop and the technical aspects of the fabrication and maintenance of costumes, costume props, makeup and hair for the Department of Theatre, Film, and Digital Production.

The Costume Shop Manager is expected to function in a collaborative, fast-paced educational theatre production environment. The position supervises the production of all costume-related items for the department, and designs about 6-10 productions per year. Extensive experience and knowledge of patterning, cutting and costume construction is required.

The position assists in planning productions, advising on staffing and workload; recommends changes to pending projects; trains and supervises student employees and crews to design productions for department; coordinates, assigns and supervises technicians during technical rehearsals and performances; maintains equipment, facilities and supplies of the costume area; performs other related duties as required. Planned overtime can be expected.

The costume shop manager is a logistical supervisor who collaborates closely with the costume designer to oversee the fabrication and fit of all garments for theatrical productions, as well as film and television shows. This person does not participate in constructing costumes, but is responsible for overseeing the shop staff and ensuring that wardrobe is delivered on budget and in a timely manner.

Duties

In the pre-production phase of any project, the costume shop manager and costume designer meet to review sketches and lay out a plan for constructing garments to the designer’s specifications, including selecting fabric and accessories. The manager is completely responsible for achieving the designer’s vision and artistic intent. He or she establishes a budget based on the discussed plan, and hires or assigns staff to fabricate all garments. In some cases, this may include purchasing new fabric, dyeing fabric, and constructing accessories like shoes, hats, and jewelry. As costume pieces near completion, the costume shop manager will coordinate with the designer and stage manager or director to bring performers in for initial fittings. The extent of necessary alterations will determine how many fittings are required to perfect each garment. When the designer is satisfied with the finished product, the costume shop manager arranges for the delivery of the costume inventory to the designer or production location.

The costume shop manager will supervise the fabrication staff through the entirety of the build process, and will track employee hours and payroll. He or she is the liaison between the costume designer and the shop, and must keep the designer and stage manager or director informed of the progress toward the production deadline. In instances when it is more cost-effective to rent, the manager will arrange for rentals and take responsibility for returning items when production has wrapped or the show closes. During strike, the manager supervises the collection of constructed garments and determines which items to save and which to sell. He or she will oversee inventory of collected pieces and prepare invoices for the pieces that are sold to costume rental houses.

Skills & Education

A college degree in theatrical design with an emphasis on costume design and fabrication is recommended, though a major in film and television production is equally applicable to those who wish to specialize in that area. As the costume shop manager must rise through the ranks of fabricators, proficiency in the techniques of garment construction is necessary. This person should be understand with the uses and limitations of numerous types of fabric, as well methods of construction specific to the entertainment industry (for instance, breakaways). Excellent organization and communication skills are necessary in this role, and the costume shop manager should be capable of cooperating with other creative professionals in a constructive and effective manner.

What to Expect

Employment opportunities exist within resident theatrical organizations with an in-house costume department, as well as at third-party costume fabrication and rental shops that cater to the entertainment industry. To seek advancement to this role, you must first gain experience in garment construction as a stitcher, dyer, milliner, tailor, or other costume craftsperson. As the manager is a senior-level position, prior employment at the junior level on several professional projects is a requirement. On the job, you must anticipate a hectic atmosphere during the runup to production; the shop may face enormous workloads under tight deadlines, unrealistic budget requirements, and the inevitable setbacks that threaten to derail months of labor. The manager must be capable of creative problem-solving and understand how to delegate responsibility to ensure staffers have ample time to complete tasks without compromising quality.

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 Shop Managing / Photo Credit: Marden Tro - Russia

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

Costume Designer Sketches / Photo Credit: Star Tribune

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

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

What Does a Costume Designer Do?

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.

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, 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 Designer Sketches / Photo Credit: Star Tribune

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