WHAT DOES A HAIRSTYLIST DO? (In the Entertainment industry. What Does A Hairstylist Do?)

Hair Styling Equipment / Photo Credit: Dyson Hairdryers - Evening Standard

WHAT DOES A HAIRSTYLIST DO? (In the Entertainment industry. What Does A Hairstylist Do?)

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

What Does A Hairstylist Do?

Hairstylist / Hairdressers work closely with colleagues in the Hair, Make-up and Costume Departments, as well as with Directors, Actors and extras. They are briefed by Heads of Department (either the Make-up and Hair Designer, or the Chief Hairdresser) who provide them with detailed continuity notes for the characters they create. They work on principal and supporting Actors and, depending on the schedule, usually look after several Actors throughout the shoot.

Personal Hairdressers are specifically requested by one of the principal Actors to work exclusively on their hair, and they have autonomy within the department. They work closely with the Chief dresser, and are responsible for breaking down the script, all hairdressing requirements, and monitoring the continuity of hair for their own Actor, throughout each production. They attend any wig and/or hair piece fittings with their artists. 

Daily Film Hairdressers (dailies) work on productions on a day-to-day basis, usually on large crowd scenes. In all cases, Hairdressers prepare performers' hair and scalp in advance, note any allergies or sensitivities and report them to appropriately qualified personnel. They may be required to use chemical solutions, and to administer hair and scalp treatments. They wash, cut, blow-dry and style hair, apply hair products and use techniques to create specific designs. They repair, alter and dress wigs and hairpieces.

They oversee hair continuity during shoots, accompanying their performers onto set. They standby during their scenes, touching up hair and redressing wigs between takes, and ensuring that continuity notes are maintained by taking length measurements and photographs. When the scenes have been shot, Hairdressers wash out products from, and condition, performers' hair. They remove wigs, and ensure that they are cleaned and prepared for further use. Hairdressers may be required to assist with any subsequent publicity shots.

Hairdressers are recruited onto films during pre-production and work throughout production, usually on a freelance basis.  The hours are long and the job can involve long periods working away from home. 

With the flick of a comb, a hairstylist can characterize, set a time period or even illuminate a theme. Successful hairstyles can evoke a sense of drama or even comedy. They can be tied to certain eras and even to certain celebrities. Because of this, it cannot be understated how important hair is to a star’s image, and subsequently, the films and television shows in which he or she appears. Just imagine the actor playing Wolverine with a Justin Beiber cut. To make sure that actors, actresses, and the characters they portray are properly done up according to the project’s needs, hairstylists are on the job.

Duties

The job duties of a hairstylist seem pretty straightforward: to take care of the hair of actors and actresses in film, television, and commercials by washing, drying, cutting, and otherwise styling. However simple this may seem, there are many intricacies that make the job slightly more involved than merely combing and brushing. Hairstylists work closely with the directors, as well as with makeup and costume departments, to help create a seamless image for characters through all their physical characteristics. They prepare the scalp and skin of actors and actresses, work with wigs, hairpieces, and extensions when needed, and often turn to chemicals and scalp treatments to achieve the desired hair effects. Another important part of the job is maintaining hair continuity throughout the shoot, which includes a great deal of touching and retouching during the shoot itself. Hairstylists work within the hair department and are often brought in during pre-production to determine how they will be performing their tasks during the shoot. Often, hairstylists will also work exclusively with the principal actors or actresses on the film, following them during the shoot to make sure their hair is always the way it needs to be. In addition to making sure an actor’s or actress’s hair is perfect for what is needed on set, the hairdresser also sees to it that all products, chemicals, and other funky do’s are washed away and dried at the end of the day. 

Skills & Education

Hairstylists for film and television must first have strong skills. There are many cosmetology and beauty schools that give hairstylists the opportunity to learn and perfect their craft, and many film hairstylists get their starts in salons. Obviously, a talent for hair styling is paramount and this often necessitates knowledge of hair design, coloring, technology, and artistry. All are equally important to become a successful hairstylist. The ability to communicate well, understand directions, and work independently as well as on teams are also attractive qualities in a hairstylist. An eye for detail is one of the most critical requirements for hairstylists, since their work helps to define the image of the character, and thus must maintain continuity throughout the shoot, which is sometimes easier said than done.

What to Expect

Hairstylists can often expect to form close relationships with certain actors and actresses, since celebrities commonly develop loyalty to stylists who successfully manage their looks. Because appearance is such a vital part of an actor’s profession, their hairstylists must be aware of any allergies the actors and actresses may have to chemicals and be prepared to handle diva behavior. Then, of course, hairstylists also get the perk of high praise for making an insecure starlet feel confidently coiffed. Becoming a personal hairstylist for individual actors or actresses is not uncommon, and this is a highly coveted position that brings with it greater autonomy and with it greater success. As with many of the careers in makeup and hair, hairstylists can expect long hours on the set and lots of freelance work. The beauty of being a hairstylist for films is that when the shoot is over, you can always return to the salon and continue styling the hair of all the actors and actresses you’ve already impressed.

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.

Hair Styling Equipment / Photo Credit: Dyson Hairdryers - Evening Standard

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

Grip Alamo Filming / Photo Credit: Premium Beat

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

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

What Does A Grip Do?

Grips are the “make it work” people. They are trained in the art of pulling solutions out of thin air. The grip department, as its namesake indicates, is the keeper of the bag of tricks, and good grips have a gadget or gizmo for every potential need—or they can bend, twist, or cut something to work. Primarily the grip department is concerned with cutting light (the saying goes that electricians make the light and grips make the shadows) and facilitating camera movement. Grips also move set pieces, hang lights, lay dolly tracks, rig camera cranes, and spot camera operators.

In the U.S. and Canada, grips are technicians in the filmmaking and video production industries. They constitute their own department on a film set and are directed by a key grip. Grips have two main functions. The first is to work closely with the camera department to provide camera support, especially if the camera is mounted to a dolly, crane, or in an unusual position, such as the top of a ladder. Some grips may specialize in operating camera dollies or camera cranes. The second main function of grips is to work closely with the electrical department to create lighting set-ups necessary for a shot under the direction of the director of photography.

In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support.

The term "grip" is from the early era of the circus. From there it was used in vaudeville and then in today’s film sound stages and sets. Some have suggested the name comes from the 1930s–40s slang term for a tool bag or "grip" that these technicians use to carry their tools. Another theory is that in the days of hand-cranked cameras, it was necessary for a few burly men to hang onto the tripod legs to stop excessive movement of the camera. These men became known as the "good grips"—as they were constantly being instructed to "keep a good grip on the tripod".

US grips typically belong to the International Alliance of Theatrical Stage Employees (IATSE). Canadian grips may also belong to IATSE or to Canada's other professional trade unions including Toronto's Nabet 700, or Vancouver's ACFC. British grips usually belong to BECTU (Broadcasting Entertainment Cinematograph & Theatre Union).

Grips work closely with the Director, Director of Photography (DoP) and the Camera Operator to make sure the position or movement of cameras is achievable.

They usually push the Dolly (the wheeled platform which carries the camera and the Camera Operator) with smooth movements that do not distract from the onscreen action.

On large projects with multiple cameras, the Key Grip is responsible for the main camera (camera A), with other Grips providing additional camera support.

Grips begin work in the later stages of preproduction, when they join all other Heads of Department to carry out a technical recce. If needed, Grips work with specialist companies to devise tailor–made pieces of equipment for difficult camera maneuver’s which are sometimes performed on location in extreme terrain and/or severe weather.

During shooting days, Grips and their team (which may include other Grips, a Remote Head technician, a Crane Operator, tracking car drivers, and all construction standbys) arrive on set early, unload all the equipment, and ensure that everything is prepared for the day's filming.

After the Director has rehearsed the actors and all the shots are choreographed, Grips set up any required equipment. Whenever a crane is used, at least two Grips are employed, working with the Crane Operator to mount and move the camera.

Grips should be ready as soon as the camera starts to roll, and they must anticipate all the camera moves, whilst also keeping in mind the preparations required for the next camera set–up. At the end of each day's shooting, Grips oversee the packing up of all camera–support equipment.

Grips are usually asked for by the DoP or the Camera Operator. Although the work is physically demanding and the hours are long, it can be very rewarding. Many Grips work on both commercials and features.

Duties

A grip can be specialized, like a dolly grip or crane operator, or a generalist. In either case, the grip answers to the best boy grip and key grip. A set ops grip helps achieve desired lighting conditions by setting flags and bounces. Larger productions will have a specific technician (the dolly grip) responsible for operating the moving camera platform (the dolly). Rigging grips assist in the setup of lighting effects, work with the leadsman under the direction of the construction coordinator on scenery and sets, and pre rig camera and crane setups. During photography this person works under the direction of the key grip.

Maintenance, repair, and inventory control of grip department gear—C-stands, chromakey backdrops, flags, plates, cable, jibs, and track—is the job of the best boy grip (or, on smaller productions, the second grip). An entry-level grip is someone with a general knowledge of the department who is capable of stepping in to any of the roles under the best boy grip, and helps out where needed—loading and lugging gear, building catwalk, flying drops, striking setups.

Most important, though, the grip department is responsible for the safety of all rigging on the set. The lights hanging overhead, the backdrops balanced behind the actors, the cameras in midair, ramps stunt performers launch themselves off—grips rig all of these, and everyone on the set puts their trust in this crew’s careful work.

Skills & Education

A film and television production degree is not required, though training is a must. Grips are responsible for hundreds of pieces of equipment; production courses are worth it just to learn the terminology. If you don’t know the difference between a cucoloris and a floppy meat axe, maybe you should consider taking a few courses in production process and cinematography. Most universities and community colleges offer film/TV programs, IATSE has a limited-access apprentice program, and industry workshops can offer a preliminary introduction to the duties of the grip department. A grip should be mechanically inclined and understand electricity, lighting, and color. Many working grips have a professional background in commercial or residential construction, and they must have extensive safety training.

What to Expect

This crew does a lot of heavy lifting and manual labor. Safety is always the first priority for a grip; if a crane or set piece comes down, the key grip may face serious legal consequences. You must be comfortable with long hours, travel, and working in all weather conditions. The charisma to develop good working relationships with all types of people is imperative for this freelancer. Most of all, a strong work ethic is a must—the lazy need not apply. Grips are right in the thick of the production process and have significant opportunities to work closely with DPs, ADs, and other production staff. A grip with a hefty résumé of credits can move up to become best boy grip, key grip, or eventually a DP.

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.

Grip Alamo Filming / Photo Credit: Premium Beat

WHAT DOES A GREENSMAN DO? (In the Entertainment industry. What Does A Greensman Do?)

Jungle Tree Set / Photo Credit: Cheatsheet – Getty Images

WHAT DOES A GREENSMAN DO? (In the Entertainment industry. What Does A Greensman Do?)

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

What Does A Greensman Do?

Greensmen are specialist advisors who are hired depending on the production budget and script requirements. They liaise with Production Designers, and use foliage and greenery to transform a location to fit script requirements, or to build a landscape in a studio. Projects vary enormously depending on individual production requirements. Greensmen may have to outfit a conservatory, landscape the lawns of a period mansion, or create alien swamps.

During pre-production Greensmen are briefed by the Production Designer. They plan how best to execute the designs, and what materials are needed. Greensmen may need to carry out research into the appropriate habitats, plants and foliage for the production. They source and select the plants and materials. They transport them to the location or studio, and build the designs.

Greensmen may have to conceal unwanted location features, known as 'greening out'. Or they may landscape the area. Greensmen may recreate natural environments in studios, or work with the Art Department to create sets where some of the landscape is artificial. This might involve mechanized trees, artificial rocks, rubber plants, silk trees and flowers etc.

As well as being responsible for all foliage and greenery on set, Greensmen also deal with any organic surface treatments, such as sand or forest litters. They may also work with other materials within the landscape (stone walls, wooden fences, etc.). Greensmen must be present during the shoot to ensure the continuity and to care for any plants that need regular watering or feeding. After the shoot, Greensmen dismantle the environment, and return the plants and materials to their sources.

Greensmen work long and irregular hours, in all kinds of weather and terrain. On large-scale productions, Greensmen may oversee a team which includes Greens Foremen*, Standby Greensmen*, and Nurserymen*.

When Marlon Brando clutched his heart and staggered to the ground in The Godfather, surrounded by his cherished tomato plants, did you ever spare a thought to wonder who actually maintained the Don’s famous garden? It was the work of a greensman, the member of the film crew with a green thumb who procures, places, and looks after any vegetation on the film set. Working with real or artificial landscaping, the greensman works to make a lowly patch of dirt look like the Garden of Eden and a mundane Hollywood backlot look like an alien rainforest.

Duties

First and foremost, a greensman— so-called whether male or female—is a horticultural expert, a set dresser with a specialized skill. He or she uses that expertise to create landscapes from the ground up, to decorate interiors with plants and flowers, or to beef up lawns and gardens with extra plants to suit the requirements of the production designer and the script. The main responsibility is to obtain greenery, which can be live or artificial; after obtaining the appropriate plants, the greensman then places them according to specifications; finally, the greensman maintain the vegetation throughout the shoot, making sure that it retains its appearance, color, and health so that continuity is preserved.

In preproduction, greensmen meet with the production designer to plan the designs and how to execute them, and do research into habitats and plant hardiness. Preproduction also includes the procurement and transportation of the vegetation itself and the necessary materials to maintain it: soil, fertilizer, tools. On location, greensmen take on traditional landscaping duties and “greening out,” or concealing unwanted parts of a location or studio. Sometimes they work with members of the art department to create artificial rocks, plants, trees, or flowers, as well as creating soils and forest litter and other elements present in conventional landscaping. Maintenance continues throughout the shoot, watering and feeding the plants; after shooting, the landscaping and artificial environments are dismantled. Once the plants and materials are returned to the appropriate sources, the job is done.

Skills & Education

A career as a greensman may not require a college degree, but it requires an extensive skill set, including a keen attention to detail, understanding of the filmmaking process, physical strength and stamina, and most of all, excellent horticultural knowledge and abilities. Greensmen are an important part of the art department, and as such have creative skills that allow them to create extremely realistic environments with their vegetation and other materials. Collaborating with the production designer and members of the art department from fabricators and sculptors to painters makes communication skills necessary, and greensmen are part of teams that require not only the ability to take orders but to give them. Besides expert knowledge of plants, gardening, landscaping, and tree surgery, greensmen commonly have masonry skills, woodworking abilities, and experience making artificial foliage. Many are licensed to drive trucks, forklifts, and Bobcats and have certification to work with hazardous materials.

What to Expect

Greensmen can expect to get dirty and work hard; some consider this the dirtiest job in the film industry. You will rarely get a break during shoots and will often be among the first to arrive and the last to leave; irregular and long hours are common, as well as working in inclement weather. The duties will vary greatly depending on the budgets and requirements of productions: You may have to provide daisies for the planter in front of the main character’s apartment, redo the landscaping on the expansive grounds of a Victorian mansion, or turn a planetarium into an alien environment using a combination of real and fake vegetation. Expect to provide your own tools and pair of gloves; the only thing you really cannot expect as a greensman is to keep clean, but that’s just part of the job.

Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In Media, Production Beast, 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.

Jungle Tree Set / Photo Credit: Cheatsheet – Getty Images

WHAT DOES A GRAPHIC DESIGNER DO? (In the Entertainment industry. What Does A Graphic Designer Do?)

Graphic Designers Workstation / Photo Credit: Mulligan Design - Joy Studio

WHAT DOES A GRAPHIC DESIGNER DO? (In the Entertainment industry. What Does A Graphic Designer Do?)

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

What Does A Graphic Designer Do?

Across the full spectrum of the entertainment and media industries, there is a need for graphic designers to produce original art to be used for advertising, marketing, promotions, and PR materials. From movie posters to album covers and video game packaging to websites, striking visual collateral is essential to culling an audience.

Graphic Artists produce all the props that contain graphic (written) items, e.g. money, newspapers, magazines, handwritten or typed letters, musical scores, books, maps, shop signage, menus, credit cards, passports, etc. They work closely with the Production Designer, Props Master, Standby Props, and Art Director(s).

If they are responsible for making an important action or “hero” prop, which will be on screen for a large part of the film, they often meet with the Director during pre-production to discuss exact requirements. They may spend six weeks working on four duplicate copies of one “hero” prop (e.g. an ancient book of alchemic signs, which requires them to work closely with a paper specialist, book binder and leather manufacturer and involves a high degree of hand-finish). Otherwise, they usually spend shorter periods of time on numerous dressing props that can be made quickly and used on a number of sets.

Occasionally, if an Actor has to use a prop (e.g. in a period film, the Director may want a shot of the character writing a manuscript), Graphic Artists work with the actor on set, showing them how to write with a quill onto the prop manuscript.

Items are often designed using freehand drawing and calligraphy skills and laid out on a computer using a software package such as Photoshop or Illustrator.

On smaller films, Graphic Artists undertake detailed research, while on big budget films this is carried out by Specialist Researchers. On larger fantasy or sci-fi films, two Graphic Artists may be employed, working closely with the Visual and Special Effects departments to produce special, animated or fantastical items such as animated photographs, flying envelopes, etc.

Graphic Artists must establish and maintain contacts with specialist suppliers of materials such as papers and inks and with reprographic (specialist printing) companies, printers, book binders, etc.

Graphic Artists are usually asked for by the Set Decorator, who has worked with them before, or knows their work by reputation. The job is highly creative but work is irregular, and most Graphic Artists work on a wide range of television, commercials and films. They work on a freelance basis.

Duties

The graphic designer typically works under the direct supervision of the art director, and is responsible for producing art assets and graphic page layouts according to design documentation and notes provided by the client. He or she will participate in concept meetings to understand the product or brand, and collaborate with the art director to come up with a design brief. Some research may be required before determining how to best visually represent a product, and the graphic designer is expected to work within given parameters, which could include mimicking an existing branding style, incorporating existing photos, or integrating required content like logos or specific wording. Working under strict deadlines, this person must deliver several comp versions of the design to the client, which will be reviewed and returned with notes for improvements. When a final design has been approved, the artist will produce refined samples for each medium (billboards, posters, etc.) that will then be reproduced for distribution. With one client satisfied, it’s on to the next project, and the design cycle repeats.

Skills & Education

Artistic talent is a necessity, as is skill in the use of design software like Photoshop, InDesign, and Illustrator. Though finished products are delivered in digital format, the graphic designer is expected to be proficient in traditional art as well; drawing ability should be the core foundation of any graphic designer. A college degree in studio art or graphic design is highly recommended, as are courses in photography, art history, and advertising. Proficiency in web design or graphic design for online media is also a considerable asset. You must be capable of prioritizing multiple tasks, as numerous projects may be dumped in your lap at once. This career demands an individual who is highly organized, detail-oriented, and an excellent communicator.

What to Expect

There is tremendous freedom and variety in a career as a graphic designer; artists have the opportunity to work full-time or freelance, dabbling in film, television, music, games, and live entertainment. Permanent positions exist within advertising and public relations firms, or in-house at a production company, film studio, game developer, or record label. If there is a specific area of the entertainment industry that appeals to you, concentrate your job-hunting efforts on companies that service that sector. Many companies offer internships or entry-level positions in the art department that can lead to full-time employment as a graphic designer. Variety in your portfolio and the ability to work in multiple styles and genres will make you a more valuable asset. A graphic designer is expected to produce material to fit the changing needs of the client, not simply to serve his or her own artistic compulsions.

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.

Graphic Designers Workstation / Photo Credit: Mulligan Design - Joy Studio

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