Craft and Technical Career

Total Page:16

File Type:pdf, Size:1020Kb

Craft and Technical Career Camera Lighting Art Costume Camera Camera Lighting Production Costume operator Jib operator Grip Gaffer Art director supervisor director designer designer Art Digital Lighting Production Costume Camera Autocue Data console Spark department imaging buyer assistant supervisor assistant operator technician wrangler operator Sound Creates the Designs look, designs Responsible the lighting, Hair and make-up and builds for the style of installs the sets and presenters and Records electrical props contributors sound, mixes equipment audio, creates sound effects Sound Sound supervisor recordist Hair and make-up designer Styles the hair and make-up of those on Entry level Entry level Entry level Entry level Entry level Entry level screen Grams Art Hair and operator Kit room department Costume Hair and Sound Runner make-up make-up artist assistant assistant runner assistant assistant Follow the arrows to learn routes to roles in TV Go to ScreenSkills for more details: Craft and technical career map www.screenskills.com/careers-in-tv the success of acquired shows like Queer technical service companies rather than The university route are often £65k and up. Entry level pay What is unscripted television? Eye (Netfl ix) and The Grand Tour (Amazon production companies. If you work for a It isn’t necessary to go to university to get can start with the UK minimum wage. Prime). Unscripted programming is production company, it’s sensible to keep into craft and technical roles. However, It’s a good idea to check out the rate The term ‘unscripted’ really means ‘without actors’. In truth, every big business and offers the prospect of fl exible, short-term work wherever you can if you want a degree, take a look at cards published by Bectu, the media and TV programme has a narrative and a script. It’s perhaps easiest to exciting and stimulating careers. get it, to tide you over during your gaps ScreenSkills’ Select list of recommended entertainment union (bectu.org.uk) to Looking for further advice? between contracts. courses at screenskills.com/courses and gage what is reasonable in your role. think of unscripted TV as non-fi ction television. It can be on any Why choose a career in The joy of working on a project basis is fi nd one in unscripted TV. We recognise unscripted television? Hours of Work If you're interested in a career in unscripted TV, check out these websites to fi nd out more: subject, from natural history, religion and music to dating, interior that every job is different. Jobs can also courses where they have strong links Working in unscripted TV involves early Careers in TV offer real ‘money can’t buy’ involve a lot of travelling and meeting new to industry, so these courses should be design and learning a skill. It’s programmed on primetime TV, starts and late fi nishes. Days are usually experiences. You could be making-up the people. Many people have long, rewarding useful in helping you make contacts and ScreenSkills, for information on careers and courses: screenskills.com/careers-in-TV daytime TV and children’s TV, as well as streaming platforms like scheduled for eight, ten or 12 hours, but next superstar, fi lming dolphins under and well-paid careers working in this way. get your fi rst job. there can be travel on top too. It’s rarely a Bafta Guru, career advice for games, fi lm and television: Bafta guru.bafta.org Netfl ix and YouTube. water or being responsible for the sound The entry level job route Monday to Friday job, or even a fi ve-day during a live transmission of a global Routes in BBC Academy, training and development for the BBC and wider industry: bbc.co.uk/academy Getting an entry level job is a great way to week job, so expect to work weekends sporting event. You can travel and get Unscripted TV genres experience like travelogues or learning a It’s not essential to go to university or fi lm get to know the industry, build contacts regularly. On the plus side, you can have access to places many don’t see. Few jobs Royal Television Society, bursaries, jobs and training schemes in the TV industry: skill. school to enter the unscripted TV industry, and make your way up to your chosen days off in the middle of the week. If you Entertainment are ever the same. rts.org.uk/education-training Examples: Love Island, MasterChef, This but you do need to develop your craft. Get role. Every new entrant will start in an need workplace stability and set hours, Fast-paced, visually exciting, heavily- Morning In craft and technical roles, the core skills skills-based qualifi cations and then on- entry level role, including graduates. this is probably not the industry for you. Bectu, the media and entertainment union: bectu.org.uk produced and formatted programmes the-job experience. Common fi rst job tasks include delivery News in unscripted TV are similar to those designed to entertain. Entertainment needed in fi lm and TV drama and it’s driving and maintenance of specialist kit, Networking programmes are usually hosted by a Presented by a trained journalist, who The vocational training route possible to transfer your skills between taking reference photographs and notes, TV relies on personal introductions Produced by ScreenSkills known presenter. When they’re recorded usually writes their own scripts. News the two types of programme. However, Some equipment companies offer entry running errands and checking supplies. and recommendations. Increase your in a purpose-built studio, they are from around the world is packaged into level jobs in the hire of audio equipment, there are signifi cant ways in which the There may also be opportunities to work connections by going to industry events. Supported by National Lottery funds awarded to ScreenSkills from the British Film Institute sometimes referred to as ‘shiny fl oor’ short bulletins throughout the day, with cameras, outside broadcast facilities, different work environments require skills with a senior professional, like a camera ScreenSkills.com/events is a good place to deliver its Future Film Skills programme because the vinyl fl oors refl ect the studio longer programmes at lunchtime and in and interests that are different from each lighting and staging. There are also roles supervisor or sound recordist, who will to start. Do some skills training. Create lights. This genre includes game shows, the evening. Programmes are made up of available with service companies that other. On a documentary, for example, train you on the job as you assist them. your own content. Update your social With thanks to Anya Francis, executive producer; Jude Winstanley, line producer; Nick Harris, festival coverage, panel shows, live music live reports 'in the fi eld', interviews with make and hire costumes, props and sets. it’s important for a camera operator to platforms and let people know when you multi-camera studio director; Chris Kershaw, producer director; Steven Hulbert, camera events, quiz shows, talent elimination experts and pre-recorded reports. Getting jobs respond quickly to a situation in which Competition for these roles is fi erce – but are available to hire. supervisor; Greg Holt, camera operator; Mel Wiffen, Autocue operator; Alison Lewis, production formats and talk shows. Examples: Channel 4 News, BBC News at anything might happen, whereas on a they are worth going for. And take a look Finding work in the TV industry is all executive, Blakeway North; Gurdip Mahal, lighting director; Dr Neil Hillman, sound designer; Examples: The X Factor, The Money Drop, Ten, Good Morning Britain feature fi lm, every shot is planned. There at the work experience opportunities about networking. To get an entry level Dominic Tolfts, production designer; David O'Brien, costume designer; Lyn Evans Bushnell, hair Saturday Night Takeaway are similar differences in hair and make- offered by some broadcasters and role, you need to get in touch with senior and make-up designer; Gavin Binder, hire manager, Media Dog Sport up, costume and the other crafts. It’s production companies, although these industry professionals and ask if you can Factual Often technically complex (especially therefore a good idea to think carefully often aren’t specifi cally in craft and work with them. There are various ways of Written and produced by Jo Ind Television that documents actual events if broadcast live) coverage of sporting about what your preference is - unscripted technical roles. Check out their websites doing that. A good way is to meet them and real people. Some programmes are events, or analysis programmes discussing TV or scripted. Start making your contacts and social media accounts. through attending industry events. Visit Design by Dave Gray (iamdavegray.com) ScreenSkills.com/events to see if there Inclusivity presented by known TV personalities, the sports action. Sport is heavy on action and build your career in the type of The apprenticeship route journalists or professional experts. This replays, graphics and unscripted chat. programming you like the best. is anything in your area. Read the trade The television industry is committed Originally commissioned by Yen Yau from Into Film An apprenticeship is a job combined with is a very broad category, ranging from press. Find out what’s shooting. Watch to building an inclusive and culturally Examples: Match of the Day, The Big Fight training, so it’s a great opportunity to current affairs like Panorama to cookery Employment prospects the credits at the end of unscripted TV diverse workforce, welcoming talent Based on an original concept by Ian Murphy and Allan Burrell (www.compositingcoach.com) Live, Cricket on 5 earn as you learn. Broadcasters, such as programmes like Ainsley’s Caribbean programmes.
Recommended publications
  • College Choices for the Visual and Performing Arts 2011-2012
    A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation
    [Show full text]
  • Sampling of Careers Within the Performing Arts
    Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043)
    [Show full text]
  • Art/Production Design Department Application Requirements
    Art/Production Design Department Thank you for your interest in the Art Department of I.A.T.S.E. Local 212. Please take a few moments to read the following information, which outlines department specific requirements necessary when applying to the Art Department. The different positions within the Art/Production Department include: o Production Designer o Art Director (Head of Department) o Assistant Art Director o Draftsperson/Set Designer o Graphic Artist/Illustrator o Art Department Coordinator and o Trainee Application Requirements For Permittee Status In addition to completing the “Permit Information Package” you must meet the following requirement(s): o A valid Alberta driver’s license, o Have a strong working knowledge of drafting & ability to read drawings, o Have three years professional Design training or work experience, o Strong research abilities, o Freehand drawing ability and o Computer skills in Accounting and/or CADD and or Graphic Computer programs. APPLICANTS ARE STRONGLY RECOMMENDED TO HAVE EXPERIENCE IN ONE OR MORE OF THE FOLLOWING AREAS: o Art Departments in Film, Theatre, and Video Production o Design and Design related fields: o Video/Film and Television Art Direction & Staging o Theatrical Stage Design & Technical Direction o Architectural Design & Technology o Interior Design o Industrial Design o Graphic Design o Other film departments with proven technical skills beneficial to the needs of the Art Department. Your training and experience will help the Head of the Department (HOD) determine which position you are best suited for. Be sure to clearly indicate how you satisfy the above requirements. For example, on your resume provide detailed information about any previous training/experience (list supervisor names, responsibilities etc.) Additionally, please provide copies of any relevant licenses, tickets and/or certificates etc.
    [Show full text]
  • Resume of Kim Bailey “ Feature Projects ”
    Local #800 Local #44 Resume of Kim Bailey “ Feature Projects ” ADOD, LLC. 2008-Present, ADOD, LLC. (Artistic Development on Demand) (Los Angeles) C.E.O. Current entrepreneurial venture outside the scope of the entertainment industry. Business model focuses on conceptual business development, development of the brand image along with image consulting, architectural interior design and themed entertainment environments , in-house graphics, development & design of advertisement campaign relating to corporate message and trade show exhibits, product placement, web design, marketing strategies, tools & sales materials, consulting for personnel management of staff, vendors and direction of sales force. Damaged Goods 2012, Serious Damage Productions, LLC. Director: Annie Biggs (Los Angeles - PILOT) Production Designer Hired by: (Executive Producer) Annie Biggs Interfaced with: (All aspects of production) Responsible for complete design and look for all aspects of production. Pranked 2011, Untitled, LLC. Director: Adam Rifkin (Los Angeles) Supervising Art Director Hired by: (Producer) Bernie Gewissler Interfaced with: (Production, Director & Executive Producer) Responsible for complete design and look for all aspects of production. The Wrath of Shatner 2010, Free Enterprise 2, LLC. Director: Robert Burnett (Los Angeles) Supervising Art Director to Production Designer Hired by: (Producer) Jeffrey Cohglan Interfaced with: (Production & Director) Responsible for complete design and look for all aspects of production, took over for Production designer
    [Show full text]
  • Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP
    Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP 12 Armourer 1 All Runners Board Operator Boom Operator 2 Art Dept Junior Chargehand Props Camera Trainee Electrician Costume Trainee Post Prod. Supervisor Directors Assistant Production Buyer Electrical Trainee / junior Rigging Electrician Jnr Costume Asst Senior Make-up Artist Make-up Traineee SFX Technician Producers Assistant Stand-by Art Director Production Secretary Props Trainee / junior 13 1st Asst. Editor Script Supervisor's Assistant Art Director Sound Trainee / junior Convergence Puller DIT 3 2nd Assistant Editor 3rd Assistant Director 14 ?Crane Technician? Accounts Assistant/cashier Grip Art Dept Co-ordinator Location Manager Art Dept Assistant Prop Master Asst Production Co-ordinator Costume Assistant 15 Costume Supervisor Junior Make-up & Hair Best Boy Electrician Location Assistant Best Boy Grip Rigging Gaffer 4 Data Wrangler Make Up Supervisor Video Playback Operator Scenic Artist Script Supervisor 5 Assistant Art Director Sculptor Costume Dresser Set Decorator Costume Maker Stereographer AC Nurse Post Production Co--ordinator 16 Focus Puller Sound Asst (3rd man) Production Accountant Unit Manager Stills Photographer 6 Assistant SFX technician 17 Dubbing Editor Asst. Location Manager Researcher 18 1st Assistant Director Camera Operator 7 2nd Assistant Accountant Costume Designer Clapper Loader Gaffer Draughtsperson Hair & Make Up Chief/Designer Key Grip 8 Assistant Costume Designer Production Manager Dressing Props Prosthetic Make Up Designer Graphic Artist Senior SFX Technician Sound Recordist 9 Illustrator Supervising Art Director Stand By Construction Stand By Costume 19 Individual Negotiation => Stand By Props Casting Director Storyboard Artist Director Director of Photography 10 Make Up Artist Editor Production Co-Ordinator Line Producer / UPM Production Designer 11 1st Assistant Accountant SFX Supervisor 2nd Assistant Director Senior Video Playback Operator Storeman/Asst Prop Master .
    [Show full text]
  • PRESS Graphic Designer
    © 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer .
    [Show full text]
  • Film Crew Film Crew
    FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process.
    [Show full text]
  • Curriculm Vitae DALTHORP
    JAMES DALTHORP CREATIVE DIRECTOR, ART DIRECTOR, WRITER, PRODUCER, DIRECTOR, EDUCATOR 2215 Wroxton Road Houston, Texas 77005 310-874-4169 [email protected] EDUCATION 1975-79 UNIVERSITY OF TEXAS / AUSTIN (BFA STUDIO ART) Studied design, painting, printmaking, photography, art history, illustration, serigraphy, and completed two-year student portfolio courses from Dr. Leonard Ruben in advertising design through the Texas Art Department. Formed student run advertising agency known as “The Immaculate Conception” that included assignments from Texas Athletic Department, Britton’s, St. Edwards. Designed and produced weekly newsmagazine “Orange Power” for former 1969 National Champion James Street and Head Coach Darrell Royal. THE GLASSELL SCHOOL OF ART, THE MUSEUM OF FINE ARTS, HOUSTON 1973-1974 Studied drawing, painting, design, and sculpture TEACHING EXPERIENCE PROFESSOR, THE MIAMI AD SCHOOL / MIAMI, FLORIDA 2018-2019 “Pop Culture Engineering”- Taught graduate student course in the history of Pop Culture and its influence on marketing and communications in advertising campaigns since 1960. Reviewed the role of social media and analytics in contemporary marketing. Created strategic documents and campaign work for women’s empowerment social media initiative. Developed student campaigns for Cadillac, participated in D&AD student creative competitions. “Ideas First”- Taught students how to write and analyze a strategic brief. Reviewed case histories of successful marketing campaigns in multiple categories. Created advertising campaigns for Kate’s Real Food energy bars, JUMP cycle and scooter test market in Santa Monica, participated in the D&AD creative competitions. “The Brand You”- Worked with undergraduate MAS students as they built and perfected their individual websites. Reviewed design, functionality, layout, typography, photography, illustration, and writing loglines for their work.
    [Show full text]
  • Duane Loose – CV
    Duane Loose – CV Duane Loose Summary A respected industry veteran Production Designer/ Art Director working at the convergence of industrial design, digital media, animation and storytelling. My experience includes art and direction for live action and animated feature films, product and design visualization, critically acclaimed transmedia webseries and extensive development of interactive worlds for mobile apps, social media and augmented reality. I focus on visual story, holistic user experience, excellent product design, teaching and mentoring art teams and leadership. Contact / INFO [email protected] Studio: 951-471-3311 Cell: 951-805-2021 Websites: Portfolio Teaching IMDB Linked In Profile Professional Experience Feb 2012 - Present rainSPARK Labs Seattle, WA Art Director - Technology incubation laboratory: iOS + Android apps and games. I lead all aspects of visual development including product design, UX/UI, corporate ID and marketing/promo transmedia. Feb. 2011 – Feb. 2012 Connect Marketing Provo, UT Director 3d/Animation - 2D/3D Animation, compositing and visual effects for clients including: Seimens, Symantec, Verisign and F5. I led a team of 5 in- house 2D/3D artists. In 2011 we won a Silver Telly Award for F5. Feb. 2007 – Jan. 2012 alpha ZED studios, Inc. Lake Elsinore, CA Production Designer/Art Director providing precision digital visual effects and animation for original IP, new media, feature films, aerospace and design visualization. Direct and indirect clients included: Vornado, Square Enix (Front Mission Orbit E3 Trailer), USA WW2 Museum (New Orleans), Paradigm Motion Picture Company (Unparalleled Valour feature film), Afterworld (Sony transmedia), Gemini Division (NBC transmedia), KAOS (THQ) Homefront(titles), Star Trek (feature film titles), Tarver Games (iOS games and apps) Page | 1 Duane Loose – CV Feb.
    [Show full text]
  • Art Department Job Descriptions
    Art Department Job Descriptions: Art Dept Coordinator: - Work closely with the Production Designer and Art Director to set up the Art Department office with furniture, a copier, a wide-format printer, etc. - Develop set lists and various breakdowns from the script(s) per the Art Director. - Put together an Art Department budget and submit to the Art Director and/or Line Producer for approval. - Communicate with Construction, Set Dec, and Props departments to source needed materials and correctly assign the costs. - Maintain a cost report to track all of the costs within the Art Department budget. - Correspond with Product Placement agencies to procure products and track them throughout the run of the show. - Communicate with vendors throughout the payment, rental, and return processes. - Compile a "book" for the tech scout(s) that includes plans, notes pages, and the scout itinerary. - Order supplies and materials for the Art Department - including wide format materials, office supplies, samples, and Graphics supplies. - Send Graphics and other potentially copyright materials to Clearance contact and/or legal, per Production, and reach out to the copyright owner, if necessary, for appropriate permissions. -Communicate closely with regular vendors, especially signage vendors, to track Graphics costs and coordinate Graphics orders and deliveries when necessary. -Maintain an orderly and informative system of tracking the permissions requested, granted, and denied, to be handed off with the Wrap materials at the end of production. - Replicate and distribute drawings/plans, both physical and digital, throughout the crew per Art Director's specifications. - Maintain an orderly server with all drawings, research, and location photos available for the department's reference and to be handed off with the Clearance files and Graphics files at the conclusion of production.
    [Show full text]
  • DIRECTORS GUILD of AMERICA JOB CLASSIFICATIONS & DEFINITIONS A. Director: Directs the Production of Motion Pictures And
    DIRECTORS GUILD OF AMERICA JOB CLASSIFICATIONS & DEFINITIONS A. Director: Directs the production of motion pictures and whatever is seen & heard in the finished product. He also directs all related functions & activities required for translating & transferring the script, premise, idea and/or concept to the audiovisual images. These directorial functions will include: --Surveying & approving all locations and their use as they pertain to the directorial concept and need. --Directorial planning & breakdown of the shooting script. --Plotting the camera angle & composition within the frame. --Participation in determining the requirements of the set, costumes, make-up, props, etc., for their proper directorial perspective and mechanical functioning. --Participation in the final casting of all performers. --Rehearsing actors, extras, and any of the visual & audio devices necessary for the completion of the production. --Directing the action of all actors, extras, etc. --Directing the dialogue as well as prerecording & post-recording of dialogue. --Directorial supervision of the duties of the entire crew during the rehearsal & shooting periods. --Making such script changes as necessary, within his jurisdiction, for the proper audiovisual presentation of the production. --The right to the first cut. Prior to completion of principal photography the Director will be advised of and will participate in considerations with respect to the utilization of the following: Trick shots Transparencies Process plates Background Inserts Stock Film Montages Glass & matte shots Miniatures Optical devices The Director’s total function is to contribute creatively to all these above elements and to guide, mold and integrate them into one cohesive dramatic and aesthetic whole. B. Director (Employee)—Commercials & N/T: A Director who works continuously & exclusively for a producer and is sometimes engaged in crafts or functions other than directing, and who is also assigned to direct productions.
    [Show full text]
  • 2014-2015 Program Book
    JUDGES 4/5 SALES PROMOTION 6 COLLATERAL MATERIAL 7 OUT OF HOME 10 NON-TRADITIONAL ADVERTISING DIVISION 11 DIGITAL ADVERTISING 12 TELEVISION 15 INTEGRATED CAMPAIGNS 16 ADVERTISING FOR THE ARTS & SCIENCES 17 PUBLIC SERVICE 19 ADVERTISING INDUSTRY SELF-PROMOTION 22 ELEMENTS OF ADVERTISING 24 JUDGES AWARD OF EXCELLENCE 29 BEST OF SHOW 30 gh_upmc_addy_ad_2015_b.qxp_Layout 1 2/16/15 11:24 AM Page 1 GOLD SPONSOR FIELD & STREAM BRANDING GUIDELINES LOGO STANDARDS Saluting those whSILVERo h aSPONSORSve creativity MAIN LOGO in their genes. The main logo should be used as the primary branding on all products, unless space does not allow 1. Main logo should be printed with 91% black and Pantone 158 2. If the color of the product is the same as the 91% black, or a dark shade then the logo should change to white logo 3. The logo should stay at the same proportions and should not be adjusted. 4. The 1871 should always be orange (Pantone 158) unless orange is not visible on product, in which case 1871 should print with white or 91% black. Background simulates dark product color Main 1-color logo in 91% black Main 2-color logo in 91% black and orange Main 2-color logo in White and orange Main 1-color logo in White TYPE LOGO The type logo is the second option and should only be used if the space does not allow for the eagle 1. Type logo should be printed with 91% black and Pantone 158 2. If the color of the product is the same as the 91% black, then the logo should change to the above (white and Pantone 158) Background simulates dark product color Main 1-color logo in 91% black Main 2-color logo in 91% black and orange Type logo in white and orange Main 1-color logo in White OPTIONAL LOGOS These logos are optional and should be used in addition to the main or type logo These options should always appear smaller than the main product branding 1.
    [Show full text]