WHAT DOES A STORYBOARD ARTIST DO? (In the Entertainment industry. What does a Storyboard Artist Do?)

Storyboard Artist Studio Paint Layer / Photo Credit: Power Production Software

WHAT DOES A STORYBOARD ARTIST DO? (In the Entertainment industry. What does a Storyboard Artist Do?)                          

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

What does a Storyboard Artist do? 

A storyboard artist visualizes stories and sketches frames of the story. Also called “story boarders,” storyboard artists work with producers, directors, and film crew from start to finish by sketching scenes during initial meetings, and editing or eliminating scenes as the project progresses.     

Storyboarding a script essentially transforms pages of dialogue and description into a comic book. Sequential single-frame illustrations are compiled to depict sequences or scenes that may be too complex to accurately describe in words alone. The director and other members of the production staff rely on storyboards to demonstrate camera angles and lay out shots that may require considerable post-production with the inclusion of visual effects. The storyboard serves as a guide for the director and DP, but also as a tool for the rest of the production staff in understanding the director’s vision.

Duties

The storyboard artist is hired during pre-production. He or she works with the director to break down the script and identify specific scenes or sequences that must be storyboarded. Rarely will a director elect to have the entire script laid out in such a fashion. Instead, the artist is charged with rendering (on paper) scenes that involve complex action sequences, intricate camera movements, fights, chases, or computer-generated effects. The director will outline for the artist the particular requirements of each shot, giving additional information concerning camera angles, sets, vehicles, etc. The time taken to sketch out these scenes saves the production the cost of shooting unnecessary or unusable footage and allows for better logistical planning ahead of principal photography. In the storyboards, the director is able to work out the kinks. The artist may elect to use pen and pencil to illustrate the storyboards, or any number of computer applications specifically designed for use on film and television productions.

Depending on the project, the storyboard artist may work in the art department offices on the studio lot of a feature film or television show, or may work at home on deadline to deliver completed illustrations. The advantage to working alongside other art department staff in pre-production is proximity to senior staff like the production designer or art director if questions arise. In the design offices, the artist typically has access to scale models and other materials that offer inspiration and reference for the storyboard layouts. The more specific and detailed each cell (single frame) is, the more useful the storyboard is to the director.

Skills & Education

A college degree in fine art or film and television production is recommended. This career demands a proficient illustrator who is also capable of capturing the key moments of a story in an expressive and dynamic fashion. It is not enough to simply draw two people in a frame; the cell must consider camera angles, lighting, and the tension of the scene. Courses in traditional illustration and photography are beneficial, as well as the study of creative writing and the foundations of story. Because the storyboard artist must work under the direction of others, this person should be capable of working in cooperative teams and able to translate another’s abstract ideas into clear visual representations.

What to Expect

Quick pencil drawings and marker renderings are two of the most common traditional techniques, although nowadays Adobe Flash, Adobe Photoshop, Storyboard Pro, and other storyboard applications are often used. The digital camera is one of the latest techniques in creating storyboards.

Most storyboard artists nowadays begin and finish their work on computers using software and digital pencils or a graphics tablet. Storyboard artists may use photos to create visuals where stock photos or photos taken specifically for the project are put together digitally to produce a photographic representation called a photo visual.

For motion pictures, some filmmakers, directors, and producers choose to use clip-art computer programs designed to create storyboards, or use a dedicated 3D storyboarding software, or a more multi-purpose 3D program which can also be used to create elements of the storyboards.

The process of storyboarding and the latitude given to the artist will depend greatly on the director. Some directors take a very prescriptive approach, precisely detailing for the artist the exact shots and framing to be depicted and used as a reminder on set. Others may allow the artist creative freedom to interpret the script with additional input. Most important to maintaining a positive working relationship with the director is the ability of the storyboard artist to adapt and play by the employer’s rules. This is mainly a freelance career that depends on references and reputation to secure a gig. However, there are opportunities to work in-house at a production design studio that is then contracted by the producer and director to work on a project. The first step is to obtain employment (freelance or otherwise) in any area of the art department on a film or television product.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Storyboard Artist Studio Paint Layer / Photo Credit: Power Production Software

WHAT DOES A STORY EDITOR DO? (In the Entertainment industry. What does a Story Editor Do?)

Story Editor / Photo Credit: BBC - AKA Design

WHAT DOES A STORY EDITOR DO? (In the Entertainment industry. What does a Story Editor Do?)                          

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

What does a Story Editor do?   

If you’ve survived your tenure as a television staff writer with only minimal injuries to your ego and self-esteem, the next level is the honor and prestige of becoming a story editor. In actuality, it’s a minor step up, but does include a couple of notable perks.

A story editor is a member of the screenwriting staff who edits stories for screenplays. The story editor has many responsibilities, including finding new script/breakdown writers, developing stories with writers, and ensuring that scripts are suitable for production.

Duties

The story editor has many responsibilities, including finding new script/breakdown writers, developing stories with writers, and ensuring that scripts are suitable for production. The story editor will work closely with the writer on each draft of their story and script, giving the writer feedback on the quality of their work, suggesting improvements that can be made while also ensuring that practical issues, like continuity and correct running time, are adhered to. When a script is past due, multiple people may write an act. Many primetime series have an executive story editor and a story editor.

It may be difficult to comprehend, but story editors on a television series may do very little editing. Rather, their primary mission is to write scripts. The showrunner and executive producer, depending on their willingness to delegate creative responsibility, may hold much of the story editing tightly. Instead of mostly contributing to the work of others in the writers’ room, story editors are expected to pen complete episodes to be pitched for production. When a preliminary script is selected, the efforts of the entire writing staff go toward refining it, but ultimately the author of the original material gets the “written by” credit for the episode. The day-to-day routine will not vary greatly from that of a staff writer, but story editors have the added expectation placed upon them to turn out 22 or 45 pages per week.

Skills & Education

Writing credits are badges that indicate your time in service to a series; to pin on the story editor badge, you will first have to pay your dues as a staff writer—experience counts. A college degree in English, creative writing, or film and television production with a concentration on scriptwriting is valuable education that places you ahead of the curve; in terms of industry knowledge, you will have a leg up on others who have taken the do-it-yourself approach. Comedy writers often get a start by taking classes at hallowed improvisational training grounds the Second City, Upright Citizens Brigade, or the Groundlings, and even experienced writing staffers sometimes remain involved with these groups. As a story editor, you are also expected to have improved your talent as a writer and internalized the voice of your series and its characters. Even if you jump from one show to the next, your scripts should illustrate growth of skill and the techniques you have picked up along the way.

What to Expect

Advancement to the role of story editor is like graduating from staff writers’ training camp; with experience, it is now up to you and your agent to haggle for each additional bump in rank (executive story editor, showrunner, writer-producer) and every increase in pay. As promised, advancement to the role of story editor affords you two substantial benefits: Story editors receive on-screen credit for their work, and they are paid for credited episodes in addition to their negotiated salary. This translates into a significant raise in pay and greater recognition for your work. These guidelines are dictated by a minimum basic agreement between the Writers Guild of America and productions that enter into a collective bargaining agreement as signatories of the WGA. In addition to a minimum salary, story editors are compensated a designated sum each time a script they have authored is produced for the series. In most cases, however, this agreement does not apply to writers and story editors on reality series, as the networks and production companies have been resistant to union negotiations with the WGA to cover these employees.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Story Editor / Photo Credit: BBC - AKA Design

WHAT DOES A STAFF WRITER DO? (In the Entertainment industry. What does a Staff Writer Do?)

Writers Rooms / Photo Credit: Buchnotes - Anatomy of a TV Writers Room

WHAT DOES A STAFF WRITER DO? (In the Entertainment industry. What does a Staff Writer Do?)                          

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

What does a Staff Writer do? 

For television writers, the first step is an entry-level gig as a staff writer. This is a less glorious title than it appears, and does not receive a credit, but it is the probationary proving ground that trains emerging storytellers in the art of creating episodic television. Under the Writers Guild of America minimum basic agreement, staff writers are paid a weekly salary and contracted for a designated period during the life of a series.

The ultimate goal is to become a television writer who a skilled writer responsible for the developing, writing, and revision of scripts so that they are ready for the silver screen. They are responsible for creating all plot lines, characters, dialogue and situations.

Television seasons are written by writing staffs, not a single writer. Individual episodes will have a credited writer — the person who actually penned that particular script — but the plot of that episode and the season as a whole are constructed by a room full of a staff of writers (known as the “writers room”), under the direction of the showrunner.

This room does not only write, but also produces: they cast, hire key crew members, have input into set design and the show’s overall feel — everything a producer would do, both for individual episodes and the series as a whole.

Duties

The process will vary depending on the executive producer and show format; TV staff writers may be given a very detailed job description or left to figure out their role one step at a time. The bulk of the work takes place in the writers’ room. Whether it’s a large conference room with a dry-erase board or a gathering place among a group of desks, this is where writers congregate to break down scripts, develop plot points, flesh out characters, and eat artery-threatening quantities of junk food. In these collaborative sessions, the staff writer should take advantage of the opportunity to provide input. Like improvisational actors, writers bounce ideas off one another with the aim of adding to and supporting brainstorming, rather than detracting from it; constructive criticism should be followed up with a pitch for a solution. If invited to do so, a staff writer may participate in first reads and rehearsals with the cast, to be on hand to take notes and make necessary changes to scenes that are not playing well. The eventual goal is to develop your own scripts; though it is rare for a new staff writer to see that script accepted for an episode, it demonstrates initiative and displays your skills.

Skills & Education

A degree is not required for work as a television writer, but a relevant education is invaluable. Majors in creative writing, English, or film production are helpful. Courses in literary theory will help you create your own unique voice by evaluating other authors. Scriptwriting may be included in the creative writing track or be available as part of a university’s film degree. Comedy writers often get a foundation by taking classes at improvisational theaters like the Second City, Upright Citizens Brigade, or the Groundlings. It’s also not a bad idea to take classes in entertainment business to learn how to properly manage your career. Writers should certainly have storytelling talent, but just as important is a realistic understanding of the industry, a skin thick enough to take constructive criticism, and the ability to effectively collaborate. Take it upon yourself to learn how to properly format a spec script using software like Final Draft and Movie Magic. Above all, remember that being able to produce creative content on demand is your job—there’s no mooning around waiting for the muse to alight. This is a professional environment, not an artists’ colony.

What to Expect

To encourage showrunners to hire fresh talent, the WGA has negotiated special provisions that allow staff writers to be hired at minimum cost and risk; that translates to minimum pay and a low level of responsibility. Staff writers are not guaranteed the opportunity to write episodes and are not paid script fees, but they are given the coveted chance to participate in script meetings and have input on the final shooting script.

Certainly, a rookie staff writer cannot afford to be picky when hunting for a break-in opportunity, but think long and hard about the type of television show you want to work on. Gravitate toward the genre and subjects that most inspire you, and the writing you deliver will be better for it. The best way to get a foot in the door is to write spec episodes of two or three shows you love—this might be your only chance to write an episode of Curb Your Enthusiasm, so go for it. You or (more likely) your agent will circulate the spec scripts among showrunners, and if you’ve got the right stuff, you’ll eventually land a staff position; even if it happens to be on a bottom-rated cable series or talk show, keep your mouth shut and your eyes and ears open and learn everything you can about the process. Identify the workflow style and determine the vibe between the showrunner and the writers and the pecking order among the writers themselves; your job is to mesh with the team dynamic, not turn the show on its head. Embrace the executive producer’s vision—don’t fight it. Above all, respect your fellow co-workers and the sanctity of the writers’ room. Those who prove their talent, skill, and dependability to be invaluable may be offered advancement to the role of story editor or writer-producer, or receive offers to write on higher-profile TV shows.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Writers Rooms / Photo Credit: Buchnotes - Anatomy of a TV Writers Room

WHAT DOES A SPECIAL EFFECTS SUPERVISOR DO? (In the Entertainment industry. What does a Special Effects Supervisor Do?)

Special Effects / Photo Credit: Just Something Creative - Guardians of the Galaxy

WHAT DOES A SPECIAL EFFECTS SUPERVISOR DO? (In the Entertainment industry. What does a Special Effects Supervisor Do?)                        

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

What does a Special Effects Supervisor do? 

The supervisor generally is the department head who defers to the film's director and/or producers, and who is in charge of the entire special effects team. Special effects include anything that is manual or mechanically manipulated (also called "practical effects" or in camera effects).

Computer-generated visual effects have transformed film and television forever, and the applications grow ever more sophisticated. Yet there’s nothing like a live-action fireball resulting from the bad guy’s SUV careening off Mulholland Drive and onto the hillside below. For the real-life disaster drama of explosions, tidal waves, and earthquakes, the film and television industry rely on the talents and training of the special effects team.

Duties

Simply put, special effects are anything that gets blown up, smashed, crashed, destroyed, or otherwise demolished. SFX also covers artificial weather, water, fog, smoke, and other atmospheric effects, as well mechanical and electrical effects. At the head of the crew of mad scientists is the special effects supervisor; this person is responsible for supervising the planning and manufacturing of all SFX elements during pre-production, and will manage their safe and proper operation on set during principal photography. Additional responsibilities include preparing the department budget and scheduling crew. During production planning, the special effects supervisor works closely with the production designer and art director to establish the concept for each SFX shot and creates a breakdown of the script to identify location and relevant information related to the construction of special effects rigs. He or she will also participate in pre-production meetings with the director and cinematographer to plan for all necessary equipment, camera angles, and safety protocols in relation to shooting a special effects scene. With that information, the supervisor turns to his or her team of SFX technicians to prototype and test different rigs. When the director is pleased with the results, a final rig is built and delivered in anticipation of shooting.

On set, the special effects supervisor is in charge of setting up all special effects systems and operating the rigs. He or she may delegate responsibilities to additional crew as needed. This person is tasked with establishing safety procedures concerning SFX scenes, and will give a briefing to all cast and crew present on set during those shots. The SFX team may take as much time as required to ensure that all precautions have been taken to prevent injury or unplanned damage to equipment and property. If required by law, the special effects supervisor will cooperate with local and state officials and fire marshals to perform inspections before the cameras roll. Following the execution of a special effects scene, the supervisor will supervise the strike and suitable storage of all related equipment and materials, including the proper disposal of hazardous materials. It is the SFX supervisor’s job to see to it that the set is cleared and safe before shooting can resume on the set.

Skills & Education

A college degree in film and television production is useful, but a formal education in electrical engineering or mechanical engineering is encouraged. Training is necessary in handling explosives, high voltage, firearms, and other hazardous material and equipment. Courses in physics, advanced mathematics, and chemistry are recommended, as special effects are a science, not just movie magic. Both state and federal laws apply to the use of explosives and live firearms in entertainment production, and certifications and licenses may be required, depending on the nature of the work. You should be familiar with the applicable laws and take part in regular training updates concerning changes to regulations.

What to Expect

This career carries with it the immense responsibility of ensuring the safety of everyone on set, a duty that must be taken seriously. Considerable training and experience is necessary for this senior-level role, which requires several years of professional employment at the junior level. Special effects personnel are eligible for membership in the International Alliance of Theatrical Stage Employees, the union that represents technicians and artists in film, television, and live production. Entry-level roles within the special effects department on a union project are available for trainees and laborers as needed, providing apprenticeships under skilled veterans in order to learn the trade. Non-union positions also exist on union shows, and are often referred to as permit status workers. With experience on several productions, you may advance through the tiered structure of SFX assistants, beginning with the role of third assistant special effects.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Special Effects / Photo Credit: Just Something Creative - Guardians of the Galaxy

WHAT DOES A SPECIAL EFFECTS MAKEUP ARTISTS DO? (In the Entertainment industry. What does a Special Effects Makeup Artists Do?)

Special Effects Artists Jose Davalos / Photo Credit: Trending All Day - Jose Davalos

WHAT DOES A SPECIAL EFFECTS MAKEUP ARTISTS DO? (In the Entertainment industry. What does a Special Effects Makeup Artists Do?)                       

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

What does a Special Effects Makeup Artists do? 

While makeup is often used in film to make actors and actresses look more beautiful, it can also be used to make them look scary, beat-up, or inhuman. When a director needs a handsome actor to become a horrifying mutant zombie, he or she turns to the considerable talents of the special effects makeup artist.

Duties

Special effects makeup artists will spend much of their time using cosmetics and appliances to create the appearance of bruises, cuts, blood, old age, deformities, mutations, and more. This specialist artist is charged with creating monsters using makeup and prosthetics, often made of latex, silicone, or rubber. Special effects makeup artists are different from regular makeup artists: Instead of beautifying actors and actresses, they often spend their time doing the exact opposite. Even in the world of computer-generated special effects, special effects makeup is still important in helping create a seamless connection between live actors and actresses and the fantasy world around them; imagine Frodo with normal, hairless feet and perfectly rounded ears, and you understand how important the special effects makeup artist’s tiniest jobs can sometimes be. Artists in this position must answer to both the costume designer and the special effects department.

Skills & Education

Special effects makeup artists need all the same skills and abilities as their more conventional makeup artist brothers and sisters, including a background in cosmetology and extensive knowledge of makeup materials. However, they also need an education in other materials such as latex, rubber, fake blood, and other materials that will be used to create realistic-looking prosthetics; realism is the goal of all special effects makeup artists. Because their subjects will spend hours upon hours in the makeup chair being transformed into orcs, vampires, or Benjamin Button, special effects makeup artists need great communication skills to go along with their artistry and creative solutions.

What to Expect

Special effects makeup artists have performed their duties in the film industry since its beginning, and have helped contribute to the suspension of reality that is key to the immersive film experience. Because the job requires you to focus less on making actors pretty and more on making them look monstrous, bloodied, or alien, you will find your talents employed mostly on science fiction and horror films; though you’ll also be essential on any movie or television show that needs a character to get a black eye, age 20 years in a day, or come out of the closet as a strange half-plant, half-human creature. Long hours on set and making actors feel comfortable during the eight hours in the makeup chair are just a couple of the tasks you’ll face, but the rest of the job will be spent making artifice look natural.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Special Effects Artists Jose Davalos / Photo Credit: Trending All Day - Jose Davalos

WHAT DOES A SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What does a Sound Effects Editor Do?)

Sound Effects Editing / Photo Credit: Ambient Mixer Blog

WHAT DOES A SOUND EFFECTS EDITOR DO? (In the Entertainment industry. What does a Sound Effects Editor Do?)                     

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

What does Sound Effects Editor do? 

Sound effects editors work with sounds and events happening on or off screen. Sound effects (commonly abbreviated as FX) refer to the sounds, other than dialog, that objects or people make, coupled with the sounds that occur naturally in the background. What these sounds may or may not sound like in real life is not always in question. In fact, some sounds that are injected into film may not even sound like the real thing. How do we know what bee sounds like when pollinating? Sometimes it does not matter provided the sound effect works within the creative framework of the movie. Without the noises and sounds that accompany all physical action in real life, a movie or television show lacks the reality that our brains expect and need in order to fully become immersed in the viewing experience. The sound effects editor works under the direction of the supervising sound editor and is responsible for manufacturing, recording, and editing all sound effects tracks included in a film or TV show.

Duties

Immediately upon being hired, the sound effects editor begins work on the script breakdown: making detailed notes identifying all sounds specifically mentioned in the script or implied by the action. Sound effects fall under four basic categories: hard sounds, background, Foley, and design. Most hard sounds and background can be sourced from sound effects libraries, which exist as digital files or on CDs and are carefully cataloged with precise descriptions. All production companies and motion picture studios have their own unique libraries, and a veteran SFX editor will have his or her own collection of recorded material. These sound effects are used to replace “dirty” (that is, unusable) sound recorded during principal photography, or to include as supplemental noises that enhance the environment but do not correspond to specific action visible on screen (for instance, wind and insect noise added to an exterior shot). Where Foley sound must be created, the sound effects editor will collaborate with the Foley artist to recreate natural sounds on a Foley stage, which is then synchronized with the visual action in the picture.

Designed sound is any unnatural audio that cannot be captured from real life. To represent the sound a spacecraft might make while hovering above the ground or a giant fairy-tale beanstalk bursting from the earth, the SFX editor will manipulate other recorded sounds or synthesize new audio tracks with the use of digital audio software. During the process of editing sound effects tracks, the sound effects editor meets with the director and sound designer to showcase work completed thus far and receive notes on elements to alter or replace. When all tracks are complete, the sound effects editor is responsible for delivering SFX cue sheets and tracks to the post-production sound mixer. He or she will be present in final reviews of post-production sound with the final picture edit, at which point further changes may be made until the director and producer are happy with the result.

Skills & Education

A college degree in film and television production with an emphasis on sound recording and post-production editing is encouraged. Coursework should include dubbing, automatic dialogue replacement, music editing, sound effects editing, and Foley recording. Additional training on both analog and digital recording consoles, as well as software applications like Pro Tools, is necessary. Every sound effects editor should own a synthesizer and become familiar with the tools and techniques common to the trade. This career requires a technically savvy individual with a keen ear for sound and the creative capacity to deliver audio that emphasizes and complements the moving images on screen.

What to Expect

Editors may work in post-production with foley artists, who will dub in sounds. Briefly, the foley process consists of recording the sounds of an artist while he mimics the actions of an actor on the screen. A short section of the film is projected over and over again for the Foley artist. The artist watches the movements of the actor or objects carefully, and mimics both the action and rhythm using a variety of props, and these actions are recorded in sync with the picture. However, editors most often build sound effects tracks from scratch. They focus on selected sounds to create tension, atmosphere and emotion. They also impart personality to film characters. For instance, a figure that is associated with a particular sound, such as squeaky shoes, has a real presence that is pervasive even when the scene is about something else or the character is off-screen.

A sound effects editor may work as a freelance technician or as a permanent employee of a post-production sound studio. Those interested in pursuing this career should seek apprentice or entry-level positions within the sound department of an independent or low-budget project in order to gain experience and build a résumé. Specifically, try to concentrate your efforts on finding work within a post sound studio where you can work full-time or part-time under the mentorship of an established veteran. Participation on student films while in college is an excellent way to hone your skills. Work as an assistant sound effects editor or intern can provide a path toward advancement.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Sound Effects Editing / Photo Credit: Ambient Mixer Blog

WHAT DOES A SOUND ASSISTANT DO? (In the Entertainment industry. What does a Sound Assistant Do?)

Sound Assistant / Photo Credit: 90 Seconds

WHAT DOES A SOUND ASSISTANT DO? (In the Entertainment industry. What does a Sound Assistant Do?)                   

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

What does Sound Assistant do? 

Sound Assistants are the third members of the production sound crew and provide general backup and support to the production sound mixer and the boom operator. They are responsible for checking all stock, microphones and batteries and making sure that the sound department runs as smoothly as possible.               

The sound assistant works under the supervision of the production sound mixer and boom operator to support the function of the sound department and maintain audio recording equipment. This technician is at the bottom of the ladder, but gains hands-on experience toward future career advancement.

Duties

On large scale productions, Sound Assistants may be called upon to operate the second boom, recording all off-camera lines of dialogue, i.e., lines spoken by characters who do not appear on screen. Sound Assistants usually work on a freelance basis with the same production sound mixer and boom operator. Most Sound Assistants work on both film and television productions, unless they work with a production sound mixer who works exclusively on feature films. The hours are long and the work often involves long periods working away from home.

Work begins on the first day of shooting when the sound assistant helps prep gear and attends the blocking rehearsal. For each shot, he or she must identify the necessary gear as outlined in the sound mixer’s script breakdown and prep the equipment, ensuring all components are in place and operating properly. As directed by the boom operator, this person may help in placing microphones and running cables, and sees to it that those cables do not obstruct the work of other crew members. On large productions, the sound assistant may be called upon to operate a secondary boom. He or she is also the official noise police; if extraneous sound is being created that interferes with a take, this person finds the source and handles it quickly and quietly. After the shot is wrapped, the sound assistant strikes the gear and moves on to the next setup to repeat the process. When moving locations, he or she is responsible for packing the truck neatly and putting equipment back in its proper place. A hastily packed truck means time lost searching for gear buried under crates—or worse yet, damaged goods that go flying when the driver initiates an impromptu brake check. The sound assistant is also tasked with maintaining audio equipment and performing repairs as necessary; no rookie escapes the unenviable task of cleaning cables. At the end of each day of photography, he or she is responsible for packaging the sound rushes and seeing that they are properly labeled.

Skills & Education

A college degree in film and television production is recommended, as specific training is required in the operation and care of electronic audio equipment. The sound assistant must recognize the differences in various types of microphones, their intended use, and the art of proper positioning to pick up the desired audio source. The production sound mixer will not be pleased if the scene needs another take because you aimed the unidirectional mic away from the actor. A firm knowledge of electricity is required, as is an intermediate level of troubleshooting and repair.

What to Expect

This is an entry-level position in the sound department, and as such will bear most of the weight of the grunt work. Be prepared to schlep gear and take orders. Work on set rarely moves along at a steady pace; long periods of waiting are followed by mad dashes to get the shot before the DP loses the light. Prior experience on set as a production assistant is helpful, but not required before becoming a sound assistant. There are also opportunities to serve as a sound trainee through affiliation with the International Alliance of Theatrical Stage Employees, the union that represents technicians and artists in film, television, and theater. Most positions in this career field are freelance, so you will have to hustle and work your connections for gigs; a strong work ethic makes the best impression. It is common for a sound assistant to be hired by a production sound mixer and move from one show to another with the same team—if they like your work.

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, Careers Hub, The Numbers, Film Maker, TV Guide Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia, Variety, No Film School, WGA, BBC, 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, Warner Bros, UCAS, Frankenbite, Realty 101, Careers Hub, Sokanu, Raindance, Film Connection,

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.

Sound Assistant / Photo Credit: 90 Seconds