WHAT DOES A FOLEY ARTIST DO? (In the Entertainment industry. What Does A Foley Artist Do?)

Foley Artist in Action / Photo Credit: yle.fi/uutiset/ - Regard Post

WHAT DOES A FOLEY ARTIST DO? (In the Entertainment industry. What Does A Foley Artist Do?)

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

What Does A Foley Artist Do?

Jack Donovan Foley is the father of motion picture sound effects. Though he never received a screen credit for his work, Foley invented many of the techniques for creating (or re-creating) sound effects for film, television, and radio. During the filming of Spartacus (1960), Stanley Kubrick wanted to reshoot a scene of the massive Roman army to get the sound of their metal shields and swords clashing just right; Foley jingled a set of keys in front of a microphone and called it a day. The pioneer has since been vindicated, as every Foley artist working in film, TV, and video games bears his name.

The Foley Editor adds subtle sounds that production microphones often miss. These often relate to movement, such as footsteps, fights, fist banging on a door, or pouring wine, shards of glass falling from a broken window. The process gives scenes added realism. It is named after the American film sound pioneer Jack Foley.

Depending on the scale of the film, Foley Editors usually start work at the end of picture editing. If the film includes a lot of action, they start work earlier. The Foley Editor, the Supervising Sound Editor and usually the Director and/or the Picture Editor attend a Spotting Session. This is a creative meeting where the film is viewed, stopping whenever necessary to discuss what the Director wishes to achieve in different scenes.

Every Foley effect required is noted and organized into tracks. This can amount to thousands of effects. Foley Editors will often have to track down specific objects for some effects. This preparation can take several days or weeks.

Foley Editors make and record all these sounds in specialist sound studios. It can take from five days to five weeks, depending on the budget and scale of the film. In the studio, the Foley Editor works with the Foley Artist and the Foley Mixer.

Foley Artists create the sounds in front of a projected picture and may try several different ways get the right effect. Foley Mixers record each performance and are responsible for the positioning of the microphones and the perspective of the recorded Foley. Foley Editors must keep track of the many thousands of Foley elements recorded, and monitor the overall feel of the combined sound as the session progresses.

After the Studio recording, Foley Editors fit all the Foleys to the images in perfect sync. They work in cutting rooms using computer software. As with all other sound, the Foley tracks are smoothed-out (cross faded) before the Re-Recording Mixer undertakes the Final Mix.

Foley Editors are either employed by Audio Post Production Houses, or work as freelancers who are employed directly by film production companies and use dry-hire rooms close to the other Sound Editors. They work on film and television productions, and the hours are long.

Reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best Foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable.

Foley artists recreate the realistic ambient sounds that the film portrays. The props and sets of a film often do not react the same way acoustically as their real life counterparts. Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming, such as overflying airplanes or passing traffic.

The term "Foley" also means a place, such as Foley-stage or Foley-studio, where the Foley process takes place.

Duties

In real life, everything makes a sound. We associate all actions with a certain noise, and without that familiar auditory indicator, the images we see on screen feel artificial and flat. Live sound is recorded during principal photography, but after reshooting and editing, that audio track does not always match. It is the job of the Foley artist to fill in the footsteps, crash-bangs, and other movement-associated sounds. To do this, the artist has at his or her disposal an arsenal of props: sandbags; an endless collection of shoes, hammers, car doors, and weapons; and a refrigerator stocked with noisy food like celery, pudding, and ice cubes. Pulling from their bag of tricks, these artists turn pine cones into cracking knuckles or a feather duster into flapping wings.

During post-production, the artist performs on a Foley stage while watching the film or video in real time. For every sound effect that must be recorded, movement is physically re-created to produce the appropriate effect. If the scene calls for a woman to run down a fire escape in her Manolo Blahniks, the Foley artist will put on a pair of heels and stomp along a metal stair, matching the actress step-for-step. The artist duplicates every car-door slam, sucker punch, and window smash—or something acoustically approximate—live. Foley artists also devise brand-new sounds for computer-generated characters and objects, creatively imagining the gnashing of Gollum’s teeth or the charging gait of the Jabberwocky.

Skills & Education

There are no specific educational requirements for this job. Most Foley artists pick up the craft while training under a veteran mentor. An education in audio production and recording arts can give you the necessary technical expertise, and coursework in film and TV production can teach you about the post-production process. To learn how best to approximate the sound of ribs cracking or laundry blowing in the wind, you’ll just have to experiment for yourself. This job requires a creative thinker, someone who is observant and has a keen ear for subtle sonic differences.

What to Expect

Skilled Foley artists are needed for film, television shows, and video games. This is a freelance role, and the trade can take years to master. To move toward a career in Foley, look for positions in the production sound department, at a post-production studio, or as an assistant on the sound editing crew. Most importantly, you must network. Be proactive in seeking out other artists. Most Foley artists who realize their dream of working on major motion pictures, TV shows, and games will spend a lifetime dedicated to honing their skills and innovating new techniques. These artists rarely make a lateral leap from this role, but work their way up from unknown noisemaker to sought-after master craftsman.

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, Ella Laryen,

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.

Foley Artist in Action / Photo Credit: yle.fi/uutiset/ - Regard Post

WHAT DOES A FILM & TV EDITOR DO? (In the Entertainment industry. What Does A Film & TV Editor Do?)

Daffy Film Editor / Photo Credit: Clampett Studio

WHAT DOES A FILM & TV EDITOR DO? (In the Entertainment industry. What Does A Film & TV Editor Do?)

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

What Does A Film & TV Editor Do?

Film editing is a technical part of the post-production process of filmmaking. The term is derived from the traditional process of working with film which increasingly involves the use of digital technology.

With an artful eye and technical skill, the editor painstakingly pores over hours of footage to select the best takes and links them together. This artist/technician creatively draws out the emotion of the story, building suspense, humor, melancholy, and joy.

The film editor works with the raw footage, selecting shots and combines them into sequences which create a finished motion picture. Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. Film editing is often referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work.

On its most fundamental level, film editing is the art, technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai and the Coen Brothers.

With the advent of digital editing, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in makeshift music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture.

Duties

The editor is supported by a staff of assistants and assistant editors, and is responsible to the director and producer. He or she is hired during preproduction; at this stage the editor reads the script and discusses the director’s vision for the film or television show. This person can make a significant impact on principal photography by collaborating with the director and cinematographer. He or she may make suggestions concerning unnecessary scenes to be cut from the script, additional scenes to be shot, or specific camera angles. Rarely will the editor visit the set during production; he or she reports to the cutting room to review dailies and begins putting together a rough cut of the story. Scenes are shot out of order based on logistics, so the editor works with detailed notes from the director and script supervisor to piece the shots together and establish continuity. A bit of clever editing covers technical mistakes during photography, and can even hide a few poor performances.

After principal photography has wrapped, the editor works closely with the director to review the initial rough cut, discuss notes, and begin the final cut. This person also collaborates with the visual effects team, sound editor, dubbing crew, and other post-production technicians to bring together all of the finishing touches. The editor works scene by scene, frame by frame, to weave together a series of visual images that support the director’s vision and tell a coherent story.

Skills & Education

A college degree in film and television production is preferred. An editor should understand photography, lighting, color theory, and the exposure process of various types of film stock. It is also necessary to have experience with implementing visual effects in postproduction, sound editing, and dubbing. Expertise with Avid and Final Cut is required; an editor should be skilled in the processes of both linear and non-linear editing. As digital video becomes more sophisticated, it is imperative that editors continue to educate themselves on emerging tapeless technology (though the old-school skills of a film and tape cutter are still in demand). That being said, it all comes down to storytelling. Regardless of technical skill, an editor must have a distinctive visual aesthetic, a highly evolved sense of pacing, and a meticulous attention to detail.

What to Expect

This job is best suited to someone who doesn’t mind working in solitary confinement. Most of the editor’s day is spent in a small, dark room. The hours are long and toiling over months of footage can be a tedious process—but the reward of seeing your finished product on the screen is worth it. To pursue a career as an editor, you should first gain experience in the second, then first assistant editor positions. The American Cinema Editors education program offers internships, and rookies can get their feet wet working as an apprentice at a post-production studio or as a production assistant. Editors can become members of the Motion Picture Editors Guild, an organization of IATSE Local 700.

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.

Daffy Film Editor / Photo Credit: Clampett Studio

WHAT DOES A DOLLY GRIP DO? (In the Entertainment industry. What Does a Dolly Grip Do?)

Dolly Track / Photo Credit: The Black and Blue

WHAT DOES A DOLLY GRIP DO? (In the Entertainment industry. What Does a Dolly Grip Do?)

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

What Does a Dolly Grip Do?

The dolly grip is not the designated Barbie wrangler, but a specialist member of the grip department. In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move.

A dolly grip must work closely with the camera crew to perfect these complex movements (cinematic techniques) during rehearsals. Focusing the lens is critical to capturing a sharp image, so a dolly grip must hit his or her marks in concert with a camera assistant who pulls focus. It is a skill that experience can hone to a point, but the best dolly grips are known for their "touch," and that makes them highly sought-after.

A dolly grip is also employed when the camera is operated in handheld mode (on the operator's shoulders or literally in their hands). While the camera operator is moving with the camera, the dolly grip is responsible for the operator's safety, helping the operator to "blindly" negotiate sometimes complicated environments. The dolly grip silently directs the operator (through gentle touches, nudges, pulls and pushes) away from walls and other obstacles that the operator cannot see while concentrating on the image in the camera viewfinder. The same is true when the camera is operated with a Steadicam or similar body-mounted stabilization tool.

Although dolly grips are hired by and under a key grip, they are paid the same as (or more than) a best boy grip, who is the second-in-command.

Dolly grips may also push a wheeled platform holding the microphone and boom operator.

Crane operators in the film industry are specially trained film crew. They are normally grips.

Some shots require the camera to move. This can be done several ways, one of which is to use a camera crane. There are many types of camera cranes, most being a counterbalanced arm on a pivot, whilst others are hydraulic. Cranes can be used to lift the camera, and often the camera operator and assistant also, quickly into the air. The crane operator sets up and operates the camera crane so that the camera arrives at the right spot. This can be difficult since the camera may be a long distance from the operator.

Duties

A track similar in appearance to a train track is built and laid on the ground to convey the camera dolly, a hefty cart that holds camera and operator for moving/tracking shots. The dolly grip’s job it is to build that track and push the dolly during filming of a scene. When a designated crane operator (also a grip) is not on staff, the dolly grip is also responsible for the build and movement of the camera crane. This person works under the supervision of the best boy grip and key grip, and is ultimately responsible to the director of photography.

Skills & Education

A college degree in film and television production is recommended, though not required. Specific training on grip equipment, dollies, and building the track is necessary, as you are playing with very expensive equipment that if not operated properly can cost thousands of dollars and hold up production on set. This job is well-suited to someone who is mechanically inclined, has a thorough understanding of lighting and photography, and doesn’t mind strenuous physical labor.

What to Expect

You’ll find that many professional grips have stumbled upon the career after experience as a commercial or residential construction worker, though this is not the standard path. Operating the dolly is a step up on the grip career ladder, and experience as a set grip in either film or television is necessary. On set, you can anticipate a hectic pace, long hours and a lot of schlepping. If you see someone carrying something, you had better be following them carrying something heavier. The environment and working conditions are always changing: Today you might be building a short track in an air-conditioned soundstage, tomorrow you’re laying out pallets to keep the 100-foot track run from sinking into the sand on a sweltering desert shoot. You must be flexible, have a strong work ethic, and be most fulfilled when working with your hands. Grips are eligible to become members of the International Alliance of Theatrical Stage Employees, the union that represents technicians in film, television, and theater.

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.

Dolly Track / Photo Credit: The Black and Blue

WHAT DOES A DIGITAL IMAGING TECHNICIAN DO? (In the Entertainment industry. What Does a Digital Imaging Technician Do?)

Digital Imaging Technician Equipment / Photo Credit: Premium Beat

WHAT DOES A DIGITAL IMAGING TECHNICIAN DO? (In the Entertainment industry. What Does a Digital Imaging Technician Do?)

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

What Does a Digital Imaging Technician Do?

DIT, or Digital Imaging Technician, is a role that’s evolved alongside digital cinematography. The DIT is responsible for the digital handling of footage. They would help the cinematographer and camera department when setting up the camera for a shoot, making sure that the settings are correct and they’re getting the most out of the camera.

Once footage has been captured, the DIT will be in charge of backing up the footage across multiple storage drives. Then, because digital footage on most professional shoots will be shot “raw” or "flat" (without the final color baked in) they will quickly apply a LUT (Look-Up Table) to give it an impression of what the footage would look like when colored. This allows the Director and Cinematographer to quickly check the rushes and decide whether the shot was satisfactory.

At some point in the near future, we might have to stop calling them films. Today, high-definition and 24p digital video are becoming increasingly popular among moviemakers, eliminating the rolls of film processors, colorists, and timers, and replacing them with the new role of the digital imaging technician.

Duties

The digital imaging technician, also known as the video controller, is a member of the camera department under the supervision of the director of photography (cinematographer). The primary function of this crewmember is to manipulate the settings of digital video cameras to accomplish the desired look expected by the director of photography and director; this is known as the digital image creation process. Traditional modern film cameras have numerous manual controls (pots) that can be adjusted for lens aperture, shutter speed, and film or sensor sensitivity. A specifically trained camera engineer or operator would be responsible for adjusting these settings to vary how the camera captures an image.

On the new breed of HD and 24p video cameras, electronic user interface menus have replaced those pots. Additionally, digital video allows for on-set manipulation of picture qualities like exposure, saturation, density, and other qualities that were previously adjusted during the post-production processing of the film. The digital imaging technician can make on-the-fly adjustments to the camera during photography that eliminate the need for many post-production duties, allowing the DP and director to see the end result of saturating and under exposing the shot while on set, rather than waiting weeks after filming as wrapped. Further manipulation of the captured images happen on set while the DIT prepares dailies (tapes of footage recorded that day), using software to clean up the shots, affect the look (color, lighting), and make other visual adjustments.

Skills & Education

A solid foundation in the operation and artistic techniques of traditional camerawork are key to this career, but specific training in the manipulation of HD and 24P video cameras is required. There is more to being a digital imaging technician then memorizing menu settings, the DIT must understand what the DP is asking for when he or she wants to accomplish a bleach by-pass look for a scene, translating traditional film processing techniques into digital manipulations. Skill comes in the form of understanding the traditional lineage of the film technique, how to accomplish it with the on-camera controls, and making the adjustments quickly; it is not as simple as selecting a predefined setting on a list. The DIT is one part gear nerd and one part visual artist.

A college degree in film and television production with a particular emphasis on HD and digital video is recommended for this career. Continuing education seminars and training courses are widely available from product manufactures to keep professionals up-to-date on the latest camera innovations.

What to Expect

The filmmaking (or moviemaking) industry is in a constant state of technological innovation, and yet, change does not always come easily or quickly. Many directors of photography, camera operators, and camera assistants are still uncertain where their jobs end and the DIT’s job begin. On set, you’ll find that many camera department members will be reaching over your shoulder to make camera adjustments, flipping through your menus and playing with settings without your instruction. There is a sentiment among many in the profession that the industry at large is still unaware of the careful craft and precise skill necessary to perform the job of the digital imaging technician. As such, some DITs find themselves pushed to the side and relegated to the task of cable puller or video playback. Don’t be dissuaded, with the new technology comes some growing pains. Developing a good professional relationship with your cinematographer and operator will allow you to better assert yourself in your job, educating them (politely) in the subtleties that distinguish your craft from others in the department. Talent is recognized, if you are knowledgeable, it will shine through and gain you greater autonomy.

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.

Digital Imaging Technician Equipment / Photo Credit: Premium Beat

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