WHAT DOES A GENERATOR OPERATOR DO? (In the Entertainment industry. What Does A Generator Operator Do?)

Tow Generators / Photo Credit: Cinereps - Production Generators

WHAT DOES A GENERATOR OPERATOR DO? (In the Entertainment industry. What Does A Generator Operator Do?)

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

What Does A Generator Operator Do?

Most commonly referred to as the genny operator, this technician works under the direction of the gaffer (chief lighting technician) on films and television productions. His or her primary concern is the safe and proper operation of all electricity generators that supply power to on-set equipment and location trucks and trailers.

The Genny Operator, also known as a Generator Operator, is a specialist role within the Lighting Department. The Genny Operator's role is to maintain and operate the electricity generators used at some location sites. This is usually in places where an electricity supply is difficult to obtain, or where there isn’t enough power for the production, for example in a desert, in a field, on a bus or boat.

Generators are also used to supplement the electricity supply. This may be when a particular lamp requires more power than ordinary electricity mains can supply or for specific equipment, such as a satellite dish. Genny Operators work within the garage department of a lighting company, to get experience of the vehicles used to transport the generators.

The Genny Operator’s main responsibility is to load the generator and drive it to the required location. They make sure that it is set up and working properly, and that it meets the needs of the production. They clean and maintain the generator, and carry out some maintenance on the carrier vehicle.

Duties

As a member of the electrics department, the generator operator works on set to install electricity generators to supply additional power where existing circuits are insufficient, or on location where electricity is otherwise unavailable. This person is tasked with ensuring the generators are adequately fueled at all times, balancing the load of distributed power among all output lines and running feeder cable to electrical service points as needed. He or she must constantly monitor the electrical output of the generator with a voltmeter to ensure that each leg of feeder is sending equal voltage and that the power consumption does not exceed the generators’ safe operating limits. When necessary, the genny operator is responsible for troubleshooting any mechanical or electrical problems associated with the power distribution systems and making the appropriate repairs.

Skills & Education

A degree in film and television production is recommended but not required. However, it is necessary to have formal training in generator operation, maintenance and repair, as well as principles of electricity, high voltage safety and power distribution. Courses in electrical engineering or experience in commercial electrical contracting are applicable to this role. There may be state and local laws concerning the operation of generators and power distribution systems above a certain voltage, thus necessitating the technician is a licensed electrician; therefore, certification is beneficial. The genny operator must be familiar with local codes concerning temporary electrical installations and work closely with fire marshals to ensure that all standards for safety are met.

What to Expect

Generator operators are typically among the first to arrive on set, as no one can start work until the genny operator has dropped power for them. The first several hours will be a mad dash to get all of the generators off the truck, in place, fueled, and running. Then there is the backbreaking task of running hundreds of feet of feeder cable (usually weighing one pound for every foot) to numerous trailers and department staging positions. The rest of the production day is spent waiting for something to go wrong. It is this person’s job to sit with the generators and monitor their function closely, which essentially amounts to watching paint dry. However, he or she is on call in the event that there is a loss in power somewhere on set or additional lines must be run and is responsible for refueling generators as necessary. Generator operators are eligible for membership in IATSE and typically begin their careers as set production assistants and set wiremen.

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.

Tow Generators / Photo Credit: Cinereps - Production Generators

WHAT DOES A GAFFER DO? (In the Entertainment industry. What Does A Gaffer Do?)

Gaffer Lighting / Photo Credit: Creative Skillset

WHAT DOES A GAFFER DO? (In the Entertainment industry. What Does A Gaffer Do?)

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

What Does A Gaffer Do?

A gaffer in the motion picture industry and on a television crew is the head electrician, responsible for the execution (and sometimes the design) of the lighting plan for a production. ... The key grip is the head grip, in charge of the labor and non-electrical equipment used to support and modify the lighting. The term gaffer originally related to the moving of overhead equipment to control lighting levels using a gaff. The gaffer's assistant is the best boy.

Lighting is one of the most important components to setting up the perfect shot. Proper lighting completes the scene by adding a dark and gloomy hue to an ominous rainy night, or sundrenched haze on a deserted island. Directors cannot rely on natural lighting to accomplish their vision; instead they create their own effects with the help of the gaffer.

Sometimes the gaffer is credited as Chief Lighting Technician (CLT).

The term has been used for the chief electrician in films since the 1930s. The Oxford English Dictionary has a citation from 1936; a 1929 book on motion picture production also uses the term. The gaffer is responsible for managing lighting, including associated resources such as labor, lighting instruments and electrical equipment under the direction of the Director of Photography (the DP or DOP) or, in television, the Lighting Director (LD).

The DP/LD is responsible for the overall lighting design, but delegates the implementation of the design to the gaffer and the key grip. The key grip is the head grip, in charge of the labor and non-electrical equipment used to support and modify the lighting. Grip equipment includes stands, flags and gobos. The gaffer will usually have an assistant called a best boy and, depending on the size of the job, crew members who are called "set lighting technicians" or "electricians", although not all of them are trained as electricians in the usual sense of the term.

Although gaffer tape is used within the film/TV Industry as a strong cloth-backed adhesive tape, many other types of tape are also used, such as paper tape, pressure-sensitive tape (A.K.A. snot tape), electrical tape, J-LAR, and cloth tape. Gaffer tape is typically utilized by set lighting technicians under the supervision of, and not directly by, a gaffer. The gaffer is the head electrician in a movie crew; it's their job to manage the lighting, making sure the levels are appropriate for the desired effect in the scene. The gaffer is assisted by the best boy, and may have a crew of electricians. A grip is also concerned with lighting, but from the mechanical side.

Duties

In the film and television industry the head of the electrical department is known as the chief lighting technician (CLT) or, more commonly, the gaffer. The gaffer answers to the director of photography, who helps interpret the director’s vision of the overall look of the film. Assisting the gaffer are the best boy electric (assistant CLT) and a crew of technicians generally called electricians or lamp operators.

The gaffer is tasked with designing the lighting plot for each shot of a film or TV show. (In some cases a lighting director may handle this duty on a television set.) The gaffer selects the proper instruments for each shot based on the environment, camera angles, desired effect, and available ambient lighting. The gaffer adjusts color temperature with the use of colored gels and manipulates the direction and intensity of light by using barn doors, flags, and reflectors. The set-up of all lighting instruments, cables, generators, and accessories is directed by the gaffer, supervised by the best boy, and carried out by the crew of electricians. During the filming of the scene the gaffer monitors the lighting conditions, while the electricians and grips are tasked with holding flags or reflectors and operating other lighting effects for complex shots such as action sequences. After the shot, the electricians tear down the gear and move on to set up the next one. As a department, the gaffer and electricians are responsible for the operation, maintenance, and repair of all electrical (not audio or camera) equipment on set. A gaffer will typically have his or her own truck stocked with a basic lighting kit, and will rent additional gear as needed.

Skills & Education

You are not expected to have a specific degree to become an electrician or gaffer, but you will need experience and training in film/TV production. A college education in this field is a great place to start to build your résumé and compile a demo reel of your work. Student films and independents are the best way to start learning the trade. Work in the electrical department requires knowledge of lighting equipment, electricity, and color theory. Courses in art, photography, and electrical engineering are helpful. Most electricians at all levels must become members of the International Alliance of Theatrical Stage Employees, the union that represents technicians in film, TV, and theater. IATSE offers an apprenticeship program to learn the craft, and requires members to complete specific training and safety courses.

What to Expect

To become a gaffer you will have to spend years working your way up the ladder. To get your foot in the door, look for opportunities as an intern with a production company or jobs as an on-set production assistant. You will have to do a lot of grunt work before you land a slot in the electrical department, but once you prove that you are a hard worker and reliable, you will be given the chance to take on more responsibility. A good attitude and willingness to learn is key, and a sense of humor and lack of ego will help you fit in with the crew. Stress and long hours are part of the package. Cultivating a successful career in film/TV production takes commitment; results rarely come quickly, but a comfortable living can be made as a gaffer.

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.

Gaffer Lighting / Photo Credit: Creative Skillset

WHAT DOES A FX TECHNICAL DIRECTOR DO? (In the Entertainment industry. What Does A FX Technical Director Do?)

The Call Up / Photo Credit: Bait Studio

WHAT DOES A FX TECHNICAL DIRECTOR DO? (In the Entertainment industry. What Does A FX Technical Director Do?)

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

What Does A FX Technical Director Do?

Effects Technical Directors (FX TDs) are the digital versions of the traditional on-set special effects crew. They need to have a feel for how to set up a system that will produce the effect they want, although this is a skill that comes with experience. There is often opportunity to be creative and have a real impact on the final result, especially when working on fantasy and sci-fi projects, and FX TDs will often use references from books, films and concept art together with the director and VFX supervisor's comments to create the 'look' required.

An FX TD needs to have the ability to break a problem down into steps. Most 3D software packages have built–in systems for creating particle or fluid systems, but an FX TD needs to understand how these can be manipulated. Many effects also require moving beyond the base setups and building more complex systems around them, which often require programming.

Simulations can often take hours to run, and a single effect may need to be simulated with many times with different tweaks to its input parameters before the desired result is achieved. Understanding how to optimize and speed up the simulations is therefore also very useful.

Realistic particle and fluid effects are among the most challenging visual effects to recreate in the digital environment. Such effects include fire, smoke, moving water, air debris, snow, and clouds. To accomplish a convincing sequence involving these effects, studios rely on the expertise of a technical director to solve complex computer modeling and geometry problems.

Duties

The FX technical director works under the management of the visual effects supervisor and is responsible for overseeing the completion of particle and fluid effects for VFX sequences in a film or television program. Each project presents new challenges, as filmmakers attempt to push technological boundaries of what is possible; therefore, he or she is tasked with addressing production obstacles by creating new software tools and modeling techniques to accomplish the director’s vision of realism.

As necessary, the technical director will write and test new software tools, using a combination of commercial applications and proprietary programs. Integrating the new tools into the studio’s production pipeline will require the FX technical director to write appropriate code using Python or C++. It is the technical director’s responsibility to write and update corresponding documentation on the FX tools and workflows established within the department. Supervising a team of effects artists, the technical director may contribute certain art assets, as well as collaborating with the staff to troubleshoot and solve problems that arise in the animation of particle sequences.

During the course of production, the technical director will support the staff of artists through mentorship and review and will keep the VFX supervisor updated on the progress of the department. Upon completion of FX assets, the technical director evaluates the visual consistency and technical compatibility of the sequences, to ensure that the assets will integrate and blend seamlessly with the other visual effects components and live-action plates. Those sequences are then passed on to the next phase in the pipeline, where the shots will be textured, lit, and rendered.

Skills & Education

The role of the FX technical director requires a thorough understanding of software design and the use of scripting languages such as Python and C++. Specific to animation for visual effects, this position requires proficiency with rigid body and particle dynamics, volume modeling, fluid and gas algorithms, and geometry generation. As this position is both artistic and technical, the individual must have an educational background that includes computer science, computer animation, as well as the advanced mathematics. A bachelor’s degree in at least one of the aforementioned areas is required. Additionally, the role of the technical director demands a person with strong communication and problem-solving skills.

What to Expect

Technical directors within a visual effects or animation studio are considered senior-level supervisors. Typically, there is a requirement of at least three years of relevant VFX experience to qualify for the position. Depending on the size of the studio and scale of the project, there may be several TDs assigned to the same department. A senior technical director will oversee the work of subordinate supervisors.

On the job, a TD is most effective when he or she is actively searching for a means to make production more efficient and enhancing the technical capabilities of the studio. It is a point of pride among studios to constantly be one-upping each other. To stay on the cutting edge, the FX technical director must commit considerable time and energy to continuing education and research within the field of visual effects.

Websites

Animation Magazine - a US magazine about the business, technology and art of animation and VFX…

Animation World Network - production news, interviews, jobs and a big archive…

Shooting People – community-driven site, founded by filmmakers, and providing opportunities, news and animation jobs…

Skwigly Animation Magazine – the longest running UK based animation magazine and community. Offers news, interviews, reviews, podcasts, videos and tutorials…

Toonhound – website about cartoons, animation, comic strips and puppets in the UK…

Own-it - offers intellectual property (IP) advice, information and learning resources for the creative sector

Animation Nation - Animation industry news and useful links…

3D World Magazine - international magazine for CG artists, covering the fields of animation, VFX, games, illustration and architecture…

Computer Graphics World - magazine covering innovation in computer graphics technology across various industries…

Cinefex - quarterly magazine devoted to motion picture visual effects..

Books

The Art and Science of Digital Compositing by Ron Brinkmann (pub. Morgan Kaufmann Publishers)…

Digital Compositing by Steve Wright (pub. Butterworth-Heinemann)…

Visual Effects in A Digital World: A Comprehensive Glossary of over 7,000 Visual Effects Terms by Karen Goulekas (pub. Morgan Kaufmann Publishers)…

How to Get a Job in Computer Animation by Ed Harriss…

Software

Houdini Apprentice - Specialist effects software, used in many high-end VFX productions to create smoke, water and particle effects…

Maxon Cinema4D - Available free for students and teachers, offers a much easier learning curve than most 3D software, and full integration with After Effects…

Blender - Free and open source 3D modelling and animation software, used to create open source films like Sintel and Tears of Steel…

The Foundry's Nuke Non-Commercial - Powerful node-based compositing software, free for training and personal projects…

Autodesk 3DS Max/Maya Academic - Industry standard and very popular 3D modelling and animation tools.

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.

The Call Up / Photo Credit: Bait Studio

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