WHAT DOES A LOCATION SCOUT DO? (In the Entertainment industry. What Does A Location Scout Do?)

Location Scout / Photo Credit: YouTube Solemnfilms

WHAT DOES A LOCATION SCOUT DO? (In the Entertainment industry. What Does A Location Scout Do?)

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

What Does A Location Scout Do?

Location scouts, also referred to as location managers, are vital members of a film or television production crew. This is especially true during the film's pre-production phase. A scout has a boatload of job responsibilities. However, his main responsibility is to ensure that the locations chosen to shoot a production authentically match the vision of the show's producer or director. Successful location scouts are great communicators, networkers and negotiators.

Making a film is a lot like selling real estate: Location is everything! A “location” in the film industry is any place filming will be done that is not a studio or a set. For films, television shows, and commercials, finding the perfect location is largely the responsibility of the location scout, who uses investigative research, travel, and photography to document potential locations that are perfect for filming.

For a location scout to successfully do his job, he must know the type of scenery or atmosphere that is needed for the shoot. One way to get this information is by communicating with the producer or director about the vision for each scene of the shoot. Another way to get this information is by reading through the script or storyboard to determine the setting of each scene. The location scout also needs to know the producer's budget for location expenditures.

Duties

The primary duty of a location scout is to find an environment best suited for a particular scene, or the entire movie, TV show, or commercial. The search begins with the script, which indicates what kind of location is needed. The scouting of potential sites usually begins with a file search, leading to physical visits to actual sites, whether exterior or interior. The location scout is responsible for contacting property owners to gain permission to scout their property; permission also must be obtained from the appropriate authorities to prevent the possibility of trespassing or other legal liabilities that may occur. Location scouts often drive themselves to sites and may scout locations alone or with others. Once at a site, the scout makes descriptive notes and sketches and takes detailed photos and video that shows how the spot meets the aesthetic goals of the script, as well as noting details about the logistical implications of the site. The more details they can provide about a site to the director and producers, the better; a complete picture of what to expect during the shoot is expected. Ambient lighting conditions, ambient sound, parking areas for the crew, sources of electricity, and access to the site are just some of the most crucial details that should be scouted. Finally, once the location is chosen, the legal issues have been worked out, and the crew descends on the site, location scouts photograph the site to ensure that any “dressing” of the location, whether in the form of props and furniture or actual structural changes, can be easily undone and the location returned to its original condition once filming is complete.

Skills & Education

Location scout is not traditionally considered a high-technology part of the film industry, and as such the education requirements are not as strict as some careers in film. However, many location scouts attend film school and have a general knowledge of the film industry and the production process. Location scouts often start as production assistants and use their connections to obtain their position; being connected, having a strong network in local government offices (for permits) and neighborhoods, and knowing the area in which you work are some of the key characteristics of successful location scouts. An unerring sense of direction helps, as well as the ability to read maps or your trusty GPS locator. Cultivating a tight relationship with the film commissions in every city you visit is a good idea, as those commissioners can grant your production valuable tax breaks. While a background in photography is not required, knowledge of lighting and framing is certainly a plus; a good eye will help a location scout see and convince producers that a street in inexpensive Bulgaria may be able to pass perfectly for one in expensive Paris with a little dressing. Location scouts are at the front of a very important preproduction process and they must understand the goals of the director and producers, be able to solve logistical problems and prevent them before they occur, and convince even the most skeptical property owner that the crew will not track mud on the carpet during filming.

What to Expect

Just because a career as a location scout does not require years of schooling and advanced degrees, it is not an easy position to attain. Like most of the coveted positions in the film industry, you can expect to work your way up from the lowest rungs, often for no pay at all; joining the Location Managers Guild of America can also be a good move for the up-and-coming location scout. Location scouts often get their start working for free for production departments that are overworked and understaffed. Driving and flying a lot, eating in your car, and trying to convince property owners that theirs is the perfect house for the latest Meg Ryan movie are just some of the things with which a location scout should be comfortable. Networking and relationship skills are the lifeblood of a location scout, and while there will be driving, hiking, and photographing, most of the job will be spent talking to someone or another, asking for permission, negotiating, listening to suggestions, and working to find that perfect location that others might have missed.

Visiting Venues

Once the location scout understands the type of scenery that is needed, he begins to scout for locations to shoot each scene. This scouting involves a lot of research, driving and picture taking. The scout may look up locations on the Internet, then drive to those locations to check them out in person. Ideally, he tries to find locations that are in close proximity to one another. Otherwise, he risks driving up production time and costs. Once the location scout is done researching venues, he provides venue photographs to the producers and directors of the show. The producer or director advises the location manager of the venue he wants to use for the shoot.

Negotiating Prices & Terms

Based on the producer's feedback, the location scout starts contacting venue owners to ask permission to use the location. In many cases, the venue owner will agree to lend his venue to the production for a fee. The location scout is responsible for negotiating this fee and the terms of the shoot, such as the shoot date and time.

Agreements & Permits

The location scout is responsible for creating written agreements between the production company and venue owner, including leasing fees, shooting dates and times, and the exact areas of the property being used. Agreements guarantee that each party understands and agrees to the production terms. In some cases, outside shooting locations require special permits from the city. The location scout is responsible for determining such permit requirements. He is also responsible for ensuring that all of the permit requirements are met. For instance, if streets need to be closed off during the shoot, the location scout is responsible for requesting the assistance of local law enforcement.

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.

Location Scout / Photo Credit: YouTube Solemnfilms

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

Film Lighting Artist Techniques / Photo Credit: StudioBinder

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

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

What Does A Lighting Artist Do?

In the fields of visual effects and digital animation, as with live-action, lighting is an important element that creates mood, depth, and realism in a scene. Whether producing a fully animated film or enhancing a filmed sequence with the use of computer-generated imagery, lighting artists put some of the last finishing touches on the project. 

Lighters make sure there is consistency in lighting, color balance and mood between the various elements of a shot or scene. When appropriate, they ensure the computer-generated imagery looks photorealistic to match the live action plates.

Lighting Artist add the lighting that creates atmosphere, increasing realism, tone and depth in a scene and clarifying location, weather and time of day. They balance individual elements to enable the compositors to produce a convincing image. They refer to the production designs and apply that visual style as faithfully as possible, taking care to maintain continuity.

They match technical skill with aesthetic judgement to create images that not only look good but are easy to render (i.e. output; translating computer data into images).

On some projects, they may be involved in the research and development of different effects for the Art Director or Lighting Supervisor. In a large company or on a larger project, they are often part of a team, but they need to be able to work with a minimum of supervision, understand the tools available and know how to use them to create the desired effects. On smaller productions, the role of Lighter may be combined with that of Modeler or Texture Artist.

Lighters need to work closely with the rendering and compositing departments to understand what is required at the next stage and ensure their material is easy to use and delivered on time.

On smaller projects, lighting is a fundamental skill required by generalists who cover more than one role. On larger productions, there is likely to be a team of dedicated Lighters.

Duties

The lighting artist working as a member of a visual effects or digital animation team is responsible for applying all lighting effects to a scene. He or she takes into consideration the light sources of the live-action plate (the filmed scene over which VFX features are placed) and applies virtual lighting to mimic the existing illumination within the environment. He or she may also add secondary virtual light to visually enhance the objects or characters in the scene, such as adding eye glint or rim lighting. The goal is to ensure that the VFX and live-action elements blend seamlessly, as though both exist in the same environment.

In animation without live-action sequences, the lighting artist is concerned with providing the evidence of light sources depicted in the scene; that may be light cast from lamps, street lights, or natural outdoor lighting. To create sequences that are realistic to the world of the film or television show, the lighting artist uses a discerning eye to creatively manipulate qualities like light color, intensity, and angle. In relation to the characters and objects in the scene, the lighting artist uses the shader settings implemented by the shading and texture artists to properly integrate the result of qualities like object reflectivity, light scatter, and the appearance of wet surfaces.

When the lighting artist is satisfied with the look sequence, he or she completes a rough composite (for visual effects with live-action scenes) to test that the computer-generated objects appear realistic in the scene. Upon approval of the light or visual effects supervisor, the lighting artist renders the images and passes the sequence through the pipeline for final compositing.

Skills & Education

Lighting artists must be artistically trained and fluent in the technology of computer animation. A solid background in 2-D and 3-D art should include a thorough understanding of color theory, perspective, and other basic principles of design theory. Study must also include the mastery of software tools such as Maya, Photoshop, After Effects, and similar digital art and animation applications. Additional experience in film and television production with a specific concentration in cinematography and production lighting is also valuable. A college degree in computer animation or similar program is recommended for this career.

What to Expect

Lighting is just one phase of the larger production pipeline. It is the lighting artist’s job to build upon the work of the other artists, while enhancing and supporting their work. It takes a careful eye for detail to produce a beautifully lit sequence that feels natural and exudes the intended mood and atmosphere of the scene. This is a skill that can be built upon knowledge and experience but requires an individual with great instincts for storytelling and characterization.

Employment opportunities for lighting artists exist within visual effects studios and digital animation production companies. This field is closely related to shading, texturing, and look development, as well as lighting for video games. Graduates with a relevant degree and strong portfolio of independent or amateur work may find entry-level opportunities as a junior member of the lighting department. Others often rise to the position through an internship with the studio or role as a render wrangler or compositor.

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.

Film Lighting Artist Techniques / Photo Credit: StudioBinder

WHAT DOES A LEADMAN DO? (In the Entertainment industry. What Does A Leadman Do?)

Leadman Swing Gang / Photo Credit: Nevada Film Office

WHAT DOES A LEADMAN DO? (In the Entertainment industry. What Does A Leadman Do?)

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

What Does A Leadman Do?

Set dressing is a simple task—place a dish there, a curtain here—that plays an important role in the realism and continuity of a film or television production. A bare set of walls or empty backlot street is not nearly as convincing or enveloping as a fully dressed environment with all of the ordinary items that humans interact with in real life.

A leadman is a set decoration department member who is responsible for the props and swing gang and/or the set dressers on a film set. The swing gang does the set dressing and then removal once the film has wrapped. Set dressers keep the set in the proper condition by placing and moving elements and props as needed for the story, continuity and to make room for the filming equipment. The leadman takes directions from the set decorator.

Duties

The leadman or lead person serves as a member of the art department under the supervision of the set decorator. He or she is responsible for managing the swing gang and/or set dressers, a crew of technicians tasked with placing set decorations in preparation for principal photography of a scene and then clearing the set when the scene is wrapped. During production, the leadman ensures that his or her crew executes dressing the set in accordance with the set decorator’s designs and art director’s established aesthetic. The lead person has a complete inventory of all decorations that correspond to a script breakdown—notes that indicate what items should appear on set for each scene and location—that is used to instruct the crew in proper placement.

The team typically arrives to a location shoot or at the soundstage in advance of the director and camera department in order to prep the stage before photography. Occasionally, when the director arrives, he or she may order changes to the set or design for logistical reasons. It will be the leadman’s responsibility to organize his or her crew, with the cooperation of the set decorator, to augment the set dressings and produce necessary replacements; this could call for new set pieces to be hurriedly scrounged and produced, so resourcefulness is a necessary skill. Typically, all technical production departments bring more to the set than is called for in the script for just such an occasion. When the scene is wrapped, the lead person supervises the crew in clearing all decorations and striking any properties that are no longer needed for the day. In the event that pick-up shots are required, a scene must be re-shot after the fact, the leadman must replicate the original set dressings in cooperation with the script supervisor to ensure complete continuity.

Skills & Education

This career does not require a specific education, but a degree in film and television production is beneficial to understanding the production process and learning the techniques related to set construction and prop making. Degrees in theatrical design or show production are also relevant to work as a leadman. To be successful in this position, you must be highly organized, be thorough, and have a meticulous eye for detail. There is nothing that a script supervisor or astute audience member hates more than a wandering set dressing that appears to be magically transporting itself across the set between camera shots. Practically, the lead person should be capable of lifting at least 50 pounds without assistance, comfortable working at heights, and able to operate carpentry tools.

What to Expect

Leadmen in the film industry are generally freelancers that work on a contract basis on one production at a time. On a television series, a single leadman could remain employed on the show for the life of the production, perhaps several years. It is common for a lead person to collaborate with the same set decorator on multiple projects. When you have developed a positive working relationship with a supervisor, he or she will often repeatedly request that you be hired on future projects. That is the key to a long career in the entertainment business, whatever your field or specialty. Those seeking to become a lead person should seek out entry-level crew positions in the art department; this includes props, set construction, painting, and set decorating. Lower-level roles are few, but they do exist on every crew. Specifically, you may find opportunities as an assistant to the set decorator, carpenters assistant, painter, or trainee. Likewise, certain productions are willing to hire crew to the swing gang or set dressers without experience, who demonstrate basic knowledge and a willingness to work hard. Experience as a set production assistant is also useful.

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.

Leadman Swing Gang / Photo Credit: Nevada Film Office

WHAT DOES A LEAD PAINTER DO? (In the Entertainment industry. What Does A Lead Painter Do?)

Variety of Black Oil Paints / Photo Credit: Art Related Blog

WHAT DOES A LEAD PAINTER DO? (In the Entertainment industry. What Does A Lead Painter Do?)

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

What Does A Lead Painter Do?

Hired during pre-production by the paint coordinator or paint foreman on a film or television set, the lead painter is a senior member of the crew who shall take on the greatest responsibility for mentoring the staff at large and for setting the example for artistic quality.

Lead Painter are usually briefed by the Production Designer and/or the Chargehand Painter to produce one or several scenic works for films.

These could be anything from cloud backdrops or the backdrop of a city such as New York or London, which is to be viewed out of a set window. They also paint any murals or paintings required and touch-up or finish work carried out by the painting team. They may also paint complex prop pieces.

They are responsible for scheduling their own work, buying in the necessary supplies, and translating the Production Designer's vision into reality.

The Lead Painter must ensure that their work is carried out to the agreed standards and deadlines. They assist at the load in (putting in place), and strike (taking down), of all their work.

They must follow strict health and safety guidelines, carry out their tasks in a safe work environment, and clean up and dispose of any waste in their work area.

Duties

The lead painter works under the supervision of the paint foreman and paint coordinator; this person should be capable of taking on the duties of the foreman in his or her absence and able to perform those tasks as delegated by the same. His or her primary responsibilities include painting set pieces, props, backdrops, cutouts, and permanent structures. In the event that a key scenic artist is not employed on the production, this person may also be charged with applying faux treatments to scenery, such as wood grain, aging, or breakdown. Typically, the lead painter is given the most complicated or intricate assignments that require the most skill and attention to detail. He or she may benefit from the help of an assistant who will perform preparation work, like sanding, filling, priming, and undercoating. Common jobs associated with the lead painter’s duties are spray painting, plastering, varnishing, and the application of materials like faux cement. On a large-scale production, the lead painter may be given the responsibility for supervising a small crew of painters in the completion of assigned projects. At all times, this person will adhere to established safety protocols and enforce department policies on behalf of department heads.

Skills & Education

A college degree in film and television production with an emphasis on scenic design is recommended, though majors in fine art or theatrical design are applicable to this career. The lead artist should display significant artistic talent, accompanied by an education in traditional drawing, painting, sculpture, and art history. He or she should be familiar with the common techniques of scenic painting and be familiar with the proper use of industry standard materials. Additionally, the lead painter must understand the procedures for appropriate storage and disposal of hazardous substances in the work location. The individual in the position must be willing to mentor junior painters and provide leadership within the department.

What to Expect

As a veteran of the paint department, the lead painter should have extensive professional experience, including work as a junior-level scenic painter, key scenic artist, and sign painter. Theatrical credits as a scenic charge artist or scenic artist are also applicable to a career in film and television production. Freelancers may work for a day rate, weekly salary, or hourly rate depending on the specific contract. Artists who are employed full-time with a scenic shop typically receive an hourly rate. Individuals within this craft are eligible for membership in IATSE, the union that represents artists and technicians within the entertainment industry. Union rates will vary.

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.

Variety of Black Oil Paints / Photo Credit: Art Related Blog

WHAT DOES A LEAD CARPENTER DO? (In the Entertainment industry. What Does A Lead Carpenter Do?)

Set Construction / Photo Credit: 4 Wood TV and Film

WHAT DOES A LEAD CARPENTER DO? (In the Entertainment industry. What Does A Lead Carpenter Do?)

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

What Does A Lead Carpenter Do?

Carpenters' work on film production is varied, and they play a crucial role in both the look and smooth running of the film.

Taking instruction from the Charge hand Carpenter, they produce a variety of structures, ranging from onscreen props such as window frames and staircases, to replica spacecraft or medieval ships.

They also carry out a great deal of off-screen building, creating support structures such as the raised platforms that may be required by the crew during filming.

Carpenters are responsible for carrying out work to the standards and deadlines set by the Charge hand Carpenter.

During pre-production, carpenters usually work out of a film production's workshop. During production, they may have to travel to the filming location to help assemble the wooden structures required.

At the end of the shoot, Carpenters help to 'strike' (take apart and remove) the wooden structures, ensuring that they are safely and securely disposed of, stored, or returned to the appropriate place.

Filming is an involved and complicated process with numerous teams working in collaboration to bring the several logistical and creative pieces together. The set construction process is a small example of that; many skilled craftsmen and women work diligently to complete pieces of a larger design that come together only through cooperation and careful planning.

Duties

The construction crew is responsible for building the sets and scenery for a film or television show according to the plans set forth by the production designer and set designer. The lead carpenter works under the supervision of the construction foreman to see that all members of the crew adhere to technical standards during set construction. He or she is also responsible for ensuring that teams complete assigned projects according to production deadlines, expediting work as necessary to keep the build on schedule. This person is first a skilled craftsperson who participates in the construction process, with the added responsibility of managing subordinates in their day-to-day activities. The lead carpenter is available to mentor junior crewmembers and to be a first point of communication between the foreman and crew.

Skills & Education

As a senior member of the construction crew, the lead carpenter must have several years of practical experience. A solid foundation in the standard principles of building practices is necessary, accompanied by a mastery of the techniques specific to scenic construction for film and television. Thinking practically, the lead carpenter must possess considerable skill in using trade tools and reading and interpreting build design blueprints. Though techniques can be taught, skill and talent must be practiced. Hands-on learning is the best education, as many professionals have spent years in the apprenticeship of a mentor. A college degree in film and television production with a concentration on set design and carpentry is beneficial. The degree provides an additional advantage in learning the production process, as well as an understanding of the different trades associated with the many departments within a production team. As a leader, this person requires the ability to communicate effectively within groups, exhibiting good decision-making and organization.

What to Expect

Not all carpenters find their way onto a film or television set through a film degree. Many come from a traditional theater background, while others find opportunities to enter the industry after developing the necessary skills while working in commercial or residential construction. Like any facet of the business, making a career for yourself is all in who you know. Seeking out opportunities to learn from veteran professionals while developing your skills is beneficial, not only to perfect your craft, but also to develop working relationships that can be an avenue to employment. It is common that a novice crewmember starts by being a shop hand, tasked mostly with cleaning, running errands, and assisting when asked. Employment opportunities exist within scenic shops that cater to the entertainment industry, as well as those for freelancers on a contract basis. Though it isn’t glamorous, take every chance you find to participate in student films, Community Theater, and other amateur work. The experience gained will be worthwhile when seeking your first paid gig. After several years of professional work as a member of the construction crew, those who have mastered the trade can seek advancement to the role of the lead carpenter.

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.

Set Construction / Photo Credit: 4 Wood TV and Film

WHAT DOES A KEY SCENIC ARTIST DO? (In the Entertainment industry. What Does A Key Scenic Artist Do?)

Bristol Old Vic Theatre School / Photo Credit: Bristol Old Vic Theatre School

WHAT DOES A KEY SCENIC ARTIST DO? (In the Entertainment industry. What Does A Key Scenic Artist Do?)

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

What Does A Key Scenic Artist Do?

In film and television production, it is often cumbersome and costly to use authentic materials in set construction. Instead, wood paneling, marble countertops, or titanium alloy bulkheads are replicated and approximated with cheaper stand-ins. With help from the carpenters, scenic artists complete this illusion with the application of faux finishes and expert painting techniques. As highly specialized artists, these members of the paint department focus on disguising one material for another and tricking the camera’s lens.

The key scenic artist is responsible for the surface treatments of the sets. This includes special paint treatments such as aging and gilding, as well as simulating the appearance of wood, stone, brick, metal, and stained glass--anything called for by the production designer. The key scenic artist supervises the crew of painters, and is often a master craftsperson. In the UK, the above responsibilities would normally be those of the head painter, and the scenic artist is responsible for producing artist painted backings. In the US a key scenic is called the charge scenic.

Scenic Artists are usually briefed by the Production Designer to produce one or several scenic works for films.

These could be anything from cloud backdrops or the backdrop of a city such as New York or London, which is to be viewed out of a set window. They also paint any murals or paintings required and touch-up or finish work carried out by the painting team. They may also paint complex prop pieces.

They are responsible for scheduling their own work, buying in the necessary supplies, and translating the Production Designer's vision into reality.

Scenic Artists must ensure that their work is carried out to the agreed standards and deadlines. They assist at the load in (putting in place), and strike (taking down), of all their work.

They must follow strict health and safety guidelines, carry out their tasks in a safe work environment, and clean up and dispose of any waste in their work area.

Duties

The key scenic artist is one of several crewmembers under the supervision of the paint coordinator and must adhere to the design specifications as set forth by the production designer and art director. He or she will also supervise a crew of painters delegated to applying special paint treatments. This one-person crew may be responsible for painting set pieces, as well as backdrops, cutouts, props, or permanent structures and will receive creation instruction based on drawings and other reference materials provided by the art department. Specific to each project, the key scenic artist’s concentration is generally in the recreation of authentic surfaces, as well as ageing and breakdown. Common tasks include simulating wood, stone, brick, metal, or stained glass. He or she may also be responsible for the execution of portraits, murals, and similar pictorial assets. It will be the artist’s task to test techniques and different types of paint in order to accomplish the desired look, then submit those small-scale samples to the paint coordinator before proceeding on the final product.

According to the production schedule established by the paint coordinator, the key scenic artist will delegate assignments to his or her paint crew and oversee their work to ensure quality and adherence to the art director’s vision. This person will actively participate in painting activities, while simultaneously supervising the work of others, providing instruction and critique. On one-off productions such as a feature film, music video, or commercial, the key scenic artist’s work is wrapped at the end of pre-production. In episodic television, this person may be retained through the life of the show. In such cases, this person is rarely on set during shooting but will work for several weeks through the production’s season.

Skills & Education

A college degree in film and television production is recommended, though majors in theatrical design or fine art are applicable. Courses should include art history, traditional drawing, painting, sculpting, and still photography. Classes in basic chemistry are also beneficial, as scenic artists are required to mix numerous chemical compounds in an effort to create unique faux materials. Training in faux finishing techniques is necessary and can be obtained through apprenticeship or the study of scenic design as part of a college major. An understanding of lighting for film and television, as well the use of lens filters is helpful, because translating a convincing replica will depend greatly on how the camera perceives the surface. There are significant differences in these variables between standard film and digital video. As an artist, this person must be capable of recreating a look with great precision but should also display creativity and ingenuity in solving complicated artistic problems.

What to Expect

Depending on the scale of the production, the key scenic artist may also serve as the paint coordinator and must therefore take on the responsibilities of that position. This person is a particularly skilled member of the paint department with evolved talents and additional experience. Previous employment may include work as a lead painter or paint foreman, and a career typically begins as an entry-level painter prepping projects and assisting senior crewmembers. A typical workweek is 40 hours, spent in a paint shop or on location, and will include dirty work in the use of paint, as well as hazardous chemicals. Artists are required to provide a minimal collection of their own tools, as instructed by the paint coordinator. Employment as a scenic charge artist in theatrical production is also applicable. Key scenic artists may work as freelancers or as permanent employees at a scenic studio that caters to the film and television industry. These artists are also eligible for membership in IATSE, the union that represents professionals working in the entertainment industry.

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

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.

Bristol Old Vic Theatre School / Photo Credit: Bristol Old Vic Theatre School

WHAT DOES A KEY MAKE ARTIST DO? (In the Entertainment industry. What Does A Key Make Artist Do?)

Makeup Stations / Photo Credit: The Makeup Light

WHAT DOES A KEY MAKE ARTIST DO? (In the Entertainment industry. What Does A Key Make Artist Do?)

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

What Does A Key Make Artist Do?

Everyone wears makeup in the movies. Seriously, everyone. The work of a makeup artist on a film or television show is not limited to glam-ing up the leading lady or turning a walk-on actor into a decaying dead body on the autopsy table, the job is also utilitarian and necessary to counteract the negative effects of intensely bright production lighting. Without makeup, all performers on screen would appear pale, washed out, and with facial expressions barely visible. 

A make-up artist or makeup artist is an artist whose medium is the human body, applying makeup and prosthetics on others for theatre, television, film, fashion, magazines and other similar productions including all aspects of the modeling industry. Awards given for this profession in the entertainment industry include the Academy Award for Best Makeup and Hairstyling and even several entertainment industry awards such as the Emmy Awards and the Golden Globes. In the United States as well as the other parts of the globe, professional licenses are required by agencies in order for them to hire the MUA. Bigger production companies have in-house makeup artists on their payroll although most MUA’s generally are freelance and their times remain flexible depending on the projects. The use of digital cameras may have made the use of bridal make up more popular.

Make-up and Hair Artists must be able to create make-ups and hairstyles to meet production requirements. They oversee make-up and hair continuity during filming and remove products as required. Make-up and Hair Artists are employed throughout pre-production and production, and usually work on a freelance basis.

Make-up and hair are key elements in the overall design of films and television productions, creating a look for the characters in relation to social class, and time periods, and any other elements required to create the desired illusion.

On film and TV dramas, their work is directed by Hair and Make-up Designers who provide them with detailed notes, character and scene breakdowns and, if necessary, reference pictures about the characters they must create. Sometimes, they may only receive a rough brief, and must produce their own script breakdown, and research and create their own design notes. They work on principal and supporting Actors, usually looking after several actors throughout the shoot. They must maintain the continuity of the actors' ‘look’.

On smaller productions, they negotiate terms with suppliers and wig and prosthetic makers, providing them with design specifications and ensuring that they deliver on time. They discuss color palettes with Production Designers and Costume Designers. They make appointments for, and if necessary, go with actors to wig fittings, facial hair fittings, prosthetic castings, optician and dental appointments.

Personal Make-up and Hair Artists are specifically requested by one of the principal Actors to work on their make-up and hair. Although they receive a rough brief from the Make-up and Hair Designer, they prepare their own script breakdown, and research and create their own designs.

Dailies work on productions on a day-to-day basis, usually on large crowd scenes.

In all cases, Hair and Make-up Artists check whether actors have any skin and/or scalp conditions in advance, and make sure that any allergies or sensitivities are taken into consideration. They must also carry out full risk assessments and develop procedures to control risks. They apply make-up, affix prosthetics, wash, cut, blow-dry, style and set hair, apply products and use specialized techniques to create specific designs. They set and dress wigs and hairpieces, and work with facial hair and false pieces, such as beards and moustaches. They may also apply special effects make-up, e.g., grazes, cuts and bruises, and bald caps.

They usually accompany their performers onto set, standing by to touch up make-up between takes, and ensuring that continuity notes are maintained using photographs. When the scenes have been shot, they remove performers' make-up, washing out products from their hair and conditioning it. They remove wigs and prosthetics, ensuring that they are cleaned and prepared for further use.

Duties

Answering to the director and production designer, the key makeup artist is a department head that is responsible for planning the makeup designs for all leading and supporting cast, to include cosmetic makeup and facial/body hair applications. When a special effects makeup artist has been hired on to the production, the key makeup artist will consult with this person on the execution of all prosthetics and SFX makeup. In production, the key artist will perform most of the daily makeup applications, while delegating additional responsibilities to subordinate crew. It is common that the department head performs makeup applications on lead cast, with assistance, and allows other crew members to work with supporting and minor roles, depending on seniority. The department head will execute especially complicated or important makeup processes that are to be featured on camera. The key makeup artist and crew remain on set or in the makeup trailer throughout the entire shooting day to perform touchups as needed and to remove makeup from performers.

In support of the function of the makeup department, the key makeup artist is ultimately responsible for recording continuity of makeup during shooting. The task of making notes in the script and photographing the cast may be delegated to another crewmember, but the department head will closely supervise these activities. This is to ensure that if re-shoots must be done, the crew can accurately recreate the look to match the previous footage. This person is also tasked with tracking and purchasing makeup materials and equipment, scheduling crew, and fabricating special prosthetics. Again, these tasks may be assigned to subordinate crew but are ultimately the responsibility of the department head.

Skills & Education

A formal degree is not required for a career as a key makeup artist, but training and practice are essential. Education can be gained through attaining a degree in film and television production or theatrical design with an emphasis on makeup, or through attending a traditional cosmetology school. Many working makeup artists learn in part by mentoring under a veteran of the industry. Basic techniques can be taught in a classroom environment, but continuing education under a seasoned master is necessary to pick up those individual trade secrets. While it is not a requirement that a makeup artist be a chemist, a basic understanding of chemistry is beneficial in adapting and innovating how different products are used. Many professionals are known to work up their own proprietary blends for use on set. Furthermore, as production cosmetics can vary widely from consumer products, a makeup artist must be aware of how the makeup will react to specific conditions of heat, moisture, and other cosmetics. Specific training in applying makeup for film and digital video is essential; this should include an in-depth course in production lighting and cameras.

What to Expect

Like most creative and skilled trades, makeup in film and television production is a field that requires constant and continued re-education. Each time you have mastered a particular technique or found a product to swear by, someone has innovated a newer, better version. At the very least, it keeps the work interesting. On the job, makeup artists can anticipate to work irregular schedules and long hours, depending on the production schedule. While the trailers on set may look familiar, shooting locations may vary from a production lot in LA to unpredictable terrain in the middle of the desert or a rainy tropical region. The key makeup artist must plan for all eventualities that can affect the function of his or her department; that means accounting for weather, electrical needs (in coordination with the generator operator), and ensuring that there is a sufficient quantity of extra supplies. When on location in a remote setting, there is no sending an assistant out for more Q-tips or concealer. As makeup artists often find themselves in very intimate settings with the cast in the application of facial and body makeup, a good artist should be discrete, polite, and always gentle with the mascara brush. It should go without saying, but a breath mint and good dose of deodorant go a long way in a small trailer.

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.

Makeup Stations / Photo Credit: The Makeup Light