A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.
Traditionally, the producer is considered the chief of staff while the director is in charge of the line. This "staff and line" organization mirrors that of most large corporations and the military. Under this arrangement, the producer has overall control of the project and can terminate the director, but the director actually makes the film. The "line producer" is thus a producer who assists with day-to-day financial and production concerns "on the line" as the film is being made.
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Saturday, September 23, 2006
Friday, September 22, 2006
Director $75 initial, $10 / hour
A film director is a person who directs the making of a film. Generally, a film director controls a film's artistic and dramatic aspects, and visualizes the script while guiding the technical crew and actors in the fulfillment of that vision. It is the director's sense of drama, along with the creative visualization of the script, that transforms a screenplay into a well-made motion picture.
However, the director doesn't always have absolute artistic control. The director is usually selected by the producer, whose job it is to make the decisions that are in the best interests of the production company or studio or network. As such, the producers have veto power over everything from the script itself to the final cut of the film, often in anywhere from slight to extreme opposition to the director's vision.
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However, the director doesn't always have absolute artistic control. The director is usually selected by the producer, whose job it is to make the decisions that are in the best interests of the production company or studio or network. As such, the producers have veto power over everything from the script itself to the final cut of the film, often in anywhere from slight to extreme opposition to the director's vision.
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Thursday, September 21, 2006
Production Design $75 initial, $10 / hour
Production designer is a term used in the movie industry to refer to the person responsible for the overall look of a film or TV movie. From early in pre-production, the production designer collaborates with the director and director of photography to establish the visual feel and specific aesthetic needs of the project. The production designer guides key personnel in other departments such as the costume designer, the key hair and make-up stylists, the special effects director and the locations manager (among others) to establish a unified visual appearance to the film.
The “art department” is a group of people who work with the production designer to implement the scenic elements of that vision. The art director supervises set construction and painting, as well as modifications to existing locations, such as changing signs or installing new carpet. An art director has a myriad of specialists reporting to them including painters, carpenters, greensmen (landscapers) and tile experts. The set decorator, often someone with experience in interior decoration, finds decorative items for the sets such as furniture, wallpaper, knick-knacks and lighting fixtures. Working under the decorator are buyers, as well as a crew of set dressers who bring the items to the set, arrange furniture, hang curtains and “dress” the set. A prop master coordinates with the production designer, but also works closely with the director and actors to provide the items handled directly by the actors such as newspapers, weapons, musical instruments and food. For the most part, the prop crew, along with an on-set dresser, maintain the integrity of the production designer’s vision during the shoot and manipulate the items for the camera.
source Wikipedia
The “art department” is a group of people who work with the production designer to implement the scenic elements of that vision. The art director supervises set construction and painting, as well as modifications to existing locations, such as changing signs or installing new carpet. An art director has a myriad of specialists reporting to them including painters, carpenters, greensmen (landscapers) and tile experts. The set decorator, often someone with experience in interior decoration, finds decorative items for the sets such as furniture, wallpaper, knick-knacks and lighting fixtures. Working under the decorator are buyers, as well as a crew of set dressers who bring the items to the set, arrange furniture, hang curtains and “dress” the set. A prop master coordinates with the production designer, but also works closely with the director and actors to provide the items handled directly by the actors such as newspapers, weapons, musical instruments and food. For the most part, the prop crew, along with an on-set dresser, maintain the integrity of the production designer’s vision during the shoot and manipulate the items for the camera.
source Wikipedia
Wednesday, September 20, 2006
Assistant Director $50 initial, $10 / hour
The Assistant director (AD) is a filmmaking role. The duties include: setting the shooting schedule, tracking daily progress against the filming production schedule, arranging logistics, rounding up cast and crew by preparing daily call sheets, checking they have all arrived, maintaining order on the set, rehearsing cast and directing background artists (extras).
On low-budget productions, the means are often not enough to realise the director's vision. It is for the 1st AD to work between the director and heads of department (HoD's) to call the necessary compromises when they need to be made, without jeopardising the integrity of the director's vision. This process can begin as early as the scriptwriting phase, with the AD suggesting such practical compromises as combining sets or reducing the number of story days, and may progress through to the actual shooting of a scene, at which time the AD may call for the director and DoP to refine the blocking of a scene in such a way that it can be adequately shot within the time available. This can be the most indirectly creative an AD gets, and he/she can gain great understanding and appreciation of the conflict between resources and vision. This can prove a useful skill to AD's who move on to production.
source Wikipedia
On low-budget productions, the means are often not enough to realise the director's vision. It is for the 1st AD to work between the director and heads of department (HoD's) to call the necessary compromises when they need to be made, without jeopardising the integrity of the director's vision. This process can begin as early as the scriptwriting phase, with the AD suggesting such practical compromises as combining sets or reducing the number of story days, and may progress through to the actual shooting of a scene, at which time the AD may call for the director and DoP to refine the blocking of a scene in such a way that it can be adequately shot within the time available. This can be the most indirectly creative an AD gets, and he/she can gain great understanding and appreciation of the conflict between resources and vision. This can prove a useful skill to AD's who move on to production.
source Wikipedia
Tuesday, September 19, 2006
Lighting Design $50 initial, $8 / hour
The role of the lighting designer (or LD) within theatre is to work with the director, set designer, and costume designer to create an overall 'look' for the show in response to the text, while keeping in mind issues of visibility, safety and cost. The LD also works closely with the stage manager on show control programming.
The role of the lighting designer varies greatly depending on whether a production is professional or amateur. For a Broadway show or a touring production the LD is usually an outside freelance specialist hired early in the production process, but most smaller theatre companies will have a resident lighting designer responsible for most of the company's productions. At the amateur level the LD will often be responsible for much of the hands-on technical work (hanging instruments, programming the light board, etc.) that would be the work of the lighting crew in a professional theatre.
The LD will read the script carefully and make notes on changes in place and time between scenes - such changes are often done just with lighting - and will have meetings with the Director, Designers and production manager during the pre-production period to discuss ideas for the show and establish budget and scheduling details. The LD will also attend several later rehearsals to observe the way the actors are being directed to use the stage area ('blocking') during different scenes, and will receive updates from the stage manager on any changes that occur. The LD will also make sure that he or she has an accurate plan of the theatre's lighting positions and a list of their equipment, as well as an accurate copy of the set design, especially the floor plan. The LD must take into account the show's mood and the director's vision in creating a lighting design.
Because lighting design is much more abstract than costume or scenic design, it is often difficult for the lighting designer to accurately convey his ideas to the rest of the production team. The lighting designer's chief tool, the light plot, is an very technical document that means almost nothing to someone unfamiliar with stage lighting. In some instances, a lighting designer may be expected to provide rough cue sheets or storyboards during pre-production. This non-technical document gives the rest of the production team a way to understand the lighting designer's vision without having to immerse themselves in the technical details of theatrical lighting. These cue sheets will typically include descriptions of each "look" that the LD has created for the show, using artistic terminology rather than technical language, and information on exactly when each look changes to the next.
source Wikipedia
The role of the lighting designer varies greatly depending on whether a production is professional or amateur. For a Broadway show or a touring production the LD is usually an outside freelance specialist hired early in the production process, but most smaller theatre companies will have a resident lighting designer responsible for most of the company's productions. At the amateur level the LD will often be responsible for much of the hands-on technical work (hanging instruments, programming the light board, etc.) that would be the work of the lighting crew in a professional theatre.
The LD will read the script carefully and make notes on changes in place and time between scenes - such changes are often done just with lighting - and will have meetings with the Director, Designers and production manager during the pre-production period to discuss ideas for the show and establish budget and scheduling details. The LD will also attend several later rehearsals to observe the way the actors are being directed to use the stage area ('blocking') during different scenes, and will receive updates from the stage manager on any changes that occur. The LD will also make sure that he or she has an accurate plan of the theatre's lighting positions and a list of their equipment, as well as an accurate copy of the set design, especially the floor plan. The LD must take into account the show's mood and the director's vision in creating a lighting design.
Because lighting design is much more abstract than costume or scenic design, it is often difficult for the lighting designer to accurately convey his ideas to the rest of the production team. The lighting designer's chief tool, the light plot, is an very technical document that means almost nothing to someone unfamiliar with stage lighting. In some instances, a lighting designer may be expected to provide rough cue sheets or storyboards during pre-production. This non-technical document gives the rest of the production team a way to understand the lighting designer's vision without having to immerse themselves in the technical details of theatrical lighting. These cue sheets will typically include descriptions of each "look" that the LD has created for the show, using artistic terminology rather than technical language, and information on exactly when each look changes to the next.
source Wikipedia
Monday, September 18, 2006
Costume Design $50 initial, $8 / hour
Costume design is the design of the appearance of the characters in a theater or cinema performance. This usually involves designing or choosing clothing, footwear, hats and head dresses for the actors to wear, but it may also include designing masks, makeup or other unusual forms.
The Costume designer is the person whose responsibility is to design costumes for a film or stage production. He or she is considered part of the "production team," alongside the director, scenic and lighting designers. The costume designer might also collaborate with a hair/wig master or a makeup designer, with the latter two operating on a subordinate level. In European theatre the role is somewhat different as the theatre designer will design both costume and scenic elements.
Costume designers will typically seek to enhance a character's persona, within the framework of the director's vision, through the way that character is dressed. At the same time, the designer must ensure that the designs allow the actor to move in a manner consistent with the historical period and enables the actor to execute the director's blocking of the production without damage to the garments. Additional considerations include the durability and washability of garments, particularly in extended runs. The designer must work in consultation with not only the director, but the set and lighting designers to ensure that the overall design of the production works together. The designer needs to possess strong artistic capabilities as well as a thorough knowledge of pattern development, draping, drafting, textiles and costume/fashion history.
source Wikipedia
The Costume designer is the person whose responsibility is to design costumes for a film or stage production. He or she is considered part of the "production team," alongside the director, scenic and lighting designers. The costume designer might also collaborate with a hair/wig master or a makeup designer, with the latter two operating on a subordinate level. In European theatre the role is somewhat different as the theatre designer will design both costume and scenic elements.
Costume designers will typically seek to enhance a character's persona, within the framework of the director's vision, through the way that character is dressed. At the same time, the designer must ensure that the designs allow the actor to move in a manner consistent with the historical period and enables the actor to execute the director's blocking of the production without damage to the garments. Additional considerations include the durability and washability of garments, particularly in extended runs. The designer must work in consultation with not only the director, but the set and lighting designers to ensure that the overall design of the production works together. The designer needs to possess strong artistic capabilities as well as a thorough knowledge of pattern development, draping, drafting, textiles and costume/fashion history.
source Wikipedia
Sunday, September 17, 2006
Scenic Design - Stage $50 initial, $10 / hour
Scenic design (also known as stage design or set design) is the creation of theatrical scenery.The scenic designer is responsible for collaborating with the theatre director and other members of the production design team to create an environment for the production and then communicating the details of this environment to the technical director, charge artist and props master. Scenic designers are responsible for creating scale models of the scenery, renderings, paint elevations and scale construction drawings as part of their communication with other production staff.
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