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FOR WHAT IT'S WORTH!

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  • Donise Hardy
    Let s talk resumes! Second only in importance to your headshot is your resume. These are the 2 things that can get you in the door. Or keep you out! Most
    Message 1 of 5 , Jun 2, 2013
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      Let's talk resumes! Second only in importance to your headshot is your
      resume. These are the 2 things that can get you in the door. Or keep you
      out!

      Most agents have a template of the style they wish their talent to use.
      Even if you don't have an agent, you still need to have a very
      professional-looking, one-page resume. If you are represented you have to
      follow the format provided by your agent.

      *Use a font that is legible. Skip the Italics!

      *Your name, contact information and union status, if any, go at the top.
      Once you have an agent, all personal information should be removed from the
      resume and their logo and information inserted. If you are submitting
      yourself for a non-paying job, then by all means use your cell number as the
      contact, rather than your agent.

      *Hair and eye color should be listed, as should height and weight.

      *Don't lie! Women tend to lie about their weight and men tend to lie about
      their height! The CD will see you when you walk in the room, so tell the
      truth! You are who and what you are, so be proud of it!

      *Parents: Be sure and list your child's DOB, not just age. Anyone under 18
      must do this.

      *Remove "Age Range". Talent usually are wrong about their ability to play
      various ages. Let the CD decide if you can play younger or older.

      *The standard order for the resume is: FILM, TELEVISION, COMMERCIALS,
      VO/INDUSTRIALS/ETC., THEATRE, TRAINING and then SPECIAL SKILLS.

      *If you have no work to show in any category, skip it. Do not write down
      "NONE", just omit that category.

      *FILM: List the name of the project, how you received credit (optional:
      the character's name) and either the studio or production company and
      director.

      *TELEVISION: Same as above, listing network or studio and director.

      *COMMERCIALS: There is some disagreement here. Most CD's agree that you
      should NOT list products because of potential conflicts. (Even if a
      commercial has long since run its course, most clients don't like to see
      that you have worked for their competition.) Some agents suggest writing
      down production companies or ad agencies. Industry standard is: CONFLICTS
      UPON REQUEST.

      *VO/Industrials/etc.: List what it is that you have done, i.e. conventions,
      voice overs, personal appearances, music videos, whatever doesn't fit into
      another category goes here! Whatever is listed in it, becomes the title of
      it!

      *THEATRE: List name of production, character portrayed and venue. It
      doesn't matter if it is a school, church, local theatre or whatever. A play
      is a play!

      *TRAINING: List the name of the class, the name of the coach, the venue or
      city and state. Please note that attending a "free" class or only taking
      one in a series of classes, doesn't count! It has been suggested that
      talent should ask the coach for permission before putting his/her name on
      the resume. If you have taken many classes from one coach, you may wish to
      consider putting "Film Acting (On-going)" on the resume rather than listing
      each and every class.

      *SPECIAL SKILLS: This is a list of physical abilities not your personality
      traits. List sports, music, dance, etc. and give a definition, i.e. Dance
      (Hip-hop, Ballet, Jazz), Golf (17 handicap), Softball (pitcher, infield),
      Soloist (3-octave range), etc. so that the CD will know what you can do.
      Don't forget to list if you have a valid US Passport, can speak a foreign
      language (fluent or conversational), drive a stick and any other skills you
      have. Actors in Texas frequently perform jobs that would be done by a union
      member or stunt person in another state, i.e. driving a car, a motorcycle,
      diving into a pool, etc.

      *Be as thorough as possible because this one-page resume is your
      introduction to the decision makers.

      *Resumes should either be printed directly onto the back of the headshot or
      attached to the headshot (back-to-back) with a few staples. Be sure to trim
      the resume to the size of the headshot (8" x 10").

      *Modeling and print work do not belong on an actor's resume. Neither does
      crew work. Keep to the point and that is that you are an actor.

      *Be sure and always have your most recent work at the top of the column.

      *If in doubt about putting something on the resume, don't! Do not list
      Social Security Number, measurements, clothing sizes, GPA's or advanced
      degrees. While you should be proud of who and what you are, the resume is
      strictly about acting and training, not academia.

      *At the far right on the bottom of the resume, in a small font, it is a
      great idea to let people know when you last updated your resume or had a new
      headshot:

      Photo: 03/13
      Resume: 06/13

      Let me know if you have any specific questions you'd like answered.

      And remember, I am expressing my opinion only. Not that of any other CD.
      And, keep in mind, that your agent has the final word on everything
      pertaining to your career, so listen to him/her!

      Happy June!

      Donise L. Hardy, CSA
      donise@...
    • Donise Hardy
      FOR WHAT IT S WORTH. Let s talk about multiple agents! Many talent are represented by several agents in different geographical locations, i.e. Dallas, Houston
      Message 2 of 5 , Sep 1, 2013
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        FOR WHAT IT'S WORTH.

        Let's talk about multiple agents!

        Many talent are represented by several agents in different geographical
        locations, i.e. Dallas, Houston and Austin (which includes San Antonio).

        While this does allow you opportunities in those areas, it can also be quite
        confusing at times.

        In my opinion, the agent who works in that area takes precedence over any
        other agents. For example, I just completed a huge commercial casting for
        Rooms To Go which was being filmed in Dallas. Therefore if a talent was
        submitted multiple times by multiple agents, I had to go with the Dallas
        agent.

        In order to help me when viewing submissions, I always look at actors in
        alphabetical order. That way if someone is submitted 2 or 3 times, I choose
        the agent to go with based on where the project is being filmed.

        The reason I think it is a good idea to have multiple agents is that
        dependent on the size of the job is whether or not I release the breakdown
        to other cities. For example, if I am casting a small job in Houston, I do
        not release the information to agents other than in Houston. The same goes
        with each area. If the actor doesn't have a second or even third agent,
        then they would not be submitted for this type of project because they
        wouldn't know about it.

        If the job is really big, then it is released to agents in all 3 areas, but
        it all boils down to where the project is being shot.

        Actors, it is your responsibility to make certain that your "mother agency"
        knows if you have representation in other areas. You really need to have a
        discussion with your original agent before accepting representation by
        someone out of town. And, it is also your responsibility to make certain
        you go to an audition through the proper agent.

        My feeling is that if you accept an out-of-town job through an agent in your
        town vs. the town where the project is being shot, you should pay them both
        a commission! Chances are both had submitted you but the CD called you in
        through the wrong one.

        Talent should immediately tell an agent who has gotten them an audition,
        that that area is covered by another agent. And, the agent should let the
        CD know what is going on.

        Talent thinks that because they were sent in thru one agent that the other
        did not submit and that is seldom true. Even if it is, it should still go to
        the proper agent.

        This prevents any territory crossing and keeps the actors and agents on a
        more professional level.

        Be sure and talk to your original agent first because many are now requiring
        "exclusivity" throughout the State and beyond.

        You need to read your contract BEFORE signing it!

        Thanks to all of you who have been kind enough to write about the monthly
        column. And, as always, thanks to Dan Eggleston for his approval in doing
        this and posting it to his various sites.

        Let me know if you have any specific questions you'd like answered.

        And remember, I am expressing my opinion only, not that of any other CD.
        Also, always keep in mind, that your agent has the final word on everything
        pertaining to your career, so listen to him/her!

        Happy Labor Day! Try and stay cool!

        Donise L. Hardy, CSA
        donise@...
        C September 1, 2013
      • Donise Hardy
        FOR WHAT IT S WORTH. HAPPY APRIL FOOL S DAY! NO FOOLIN ! Today marks the one-year anniversary of this column! Hope you are enjoying reading it as much as I
        Message 3 of 5 , Apr 1, 2014
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          FOR WHAT IT'S WORTH.

          HAPPY APRIL FOOL'S DAY! NO FOOLIN'!

          Today marks the one-year anniversary of this column! Hope you are enjoying
          reading it as much as I am enjoying writing it.

          Let's talk about marketing!

          When you become an actor, you become your very own small business company.
          Yes, like all small business owners, you have to let your potential
          "customers" (in this case, directors, casting directors, producers,
          networks, studios, ad agencies, etc.) know that you are there and that the
          "doors" are open for business.

          You have to make yourself visible, your face and your name known and your
          skill set touted as a "must see" with not only your marketing materials but
          also with consistency in your marketing campaign.

          Even if you have an agent, marketing is really 100% your responsibility.
          When you consider that most agencies represent hundreds of actors, you'll
          realize that it would be virtually impossible for them to market each talent
          they represent! They can obviously market the entire agency, and I assure
          you they do, but marketing individuals is exactly that: up to you, the
          individual. You have plenty of time and all it takes is a little
          imagination. That and a darned good working data base.

          When you are on set working, or in any situation where any decision makers
          are present, you should always ask for their card in a very unobtrusive way
          and at a time convenient for them. This will be the beginning of your data
          base.

          There is a ton of information on the Texas Film Commission website. Go to
          the Directory and look for casting directors, directors, producers, etc.
          Before adding them to your data base, do your due diligence because some of
          these people haven't worked in years or have over-blown their resumes.
          Don't bother with them. Only add those who are current.

          The 2 most obvious marketing tools you have are your headshot and resume.
          Also, you may have a demo reel of professional work you have done. And the
          3 sites (Actors Access, Casting Networks and Now Casting) are excellent
          exposure for you and again, YOUR responsibility to update as often as a
          change is made.

          Another extremely important tool for you is a business card which you can
          hand out at networking events, on sets, at auditions and anywhere you happen
          to meet someone in the business! Business cards are inexpensive and should
          contain the following information:

          Name
          Union Affiliation, if any
          Headshot
          Agency Name, Phone Number, Website
          Link to you on Actors Access, etc.

          I suggest you use your current headshot on the business card for the sake of
          continuity. This isn't the time to show us how many looks you have, save
          that for the various sites. Remember, once you have an agent all personal
          information, i.e. cell number, email address, etc., is eliminated. The only
          exception is when you are self-submitting on a non-paying project and then
          you should give your personal information as the contact. (And you should
          always check with your agent before self-submitting on any project. The
          agent may have already taken a pass because of poor pay, excessive use
          [perpetuity] or other reasons.)

          If you do not have an agent, then list your cell number, email address and
          website.

          Cards may be one-sided or two. There are many examples for you to choose
          from. Remember K.I.S.S.: Keep It Simple Sweetheart!

          You should invest in postcards as soon as you can. Again, they should have
          the same headshot and information as on the business card. These are
          perfect for thank you notes for auditions, for news about recent bookings,
          new training, for holiday greetings and a host of other uses. You want to
          send postcards at least every 4 - 6 weeks BUT immediately if you are booked
          on a project. Just keep sending us your cards so that we will keep you in
          mind!

          Great idea to send them to people who you have recently worked with, whether
          it is the director or craft services! Everyone likes to be acknowledged!

          How many of you know your agent's birthday? What about Casting Directors'
          birthdays? It is only common sense to acknowledge these people on their
          special day and holidays. If you are inclined to send a gift, how about
          "scratch" pads with your headshot and contact information? These sit on our
          desks all day long, are used constantly and there you are! Right in front
          of us! Sticky notes are also a good idea! Calendars with your headshot;
          refrigerator magnets; key chains, etc., etc.

          Needless to say there are all sorts of social media at your disposal. Take
          full advantage of it.

          Keep your data base up to date and be sure to make changes as necessary.
          Stay in contact with those people who have helped or hired you. They may
          just do it again!

          Let your imagination go wild and have fun creating your marketing campaign!

          Thanks to all of you who have been kind enough to write about the monthly
          column. And, as always, thanks to Dan Eggleston for his approval in doing
          this and posting it to his various sites.

          Let me know if you have any specific questions you'd like answered.

          And remember, I am expressing my opinion only, not that of any other CD.
          Also, always keep in mind, that your agent has the final word on everything
          pertaining to your career, so listen to him/her!

          Happy April Fool's day, a Happy Passover, Good Friday and Happy Easter!

          This column will not appear in May, as I will be out of the country! Talk
          to you in June!

          Donise L. Hardy, CSA
          C April 1, 2014
          donise@...
        • Donise Hardy
          FOR WHAT IT S WORTH. Let s talk about a film crew! Who are all those people? And what the heck do they do? This is going to be a long one, so be prepared!
          Message 4 of 5 , Jun 1, 2014
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            FOR WHAT IT'S WORTH.

            Let's talk about a film crew! Who are all those people? And what the heck
            do they do? This is going to be a long one, so be prepared!

            Most of the following is from research I did on line via Wikipedia and
            Wikimedia, but I have edited, rearranged and added to it.

            A film crew is a group of people hired by a production company for the
            purpose of producing a film or motion picture. The crew is separate from
            the producers as the producers are the ones who own a portion of either the
            film company or the film's intellectual property rights.

            The crew is divided into different departments, each of which specializes in
            a specific aspect of the production. Film crew positions have evolved over
            the years, spurred by technological change, but many traditional jobs date
            from the early 20th century and are common across jurisdictions and
            film-making cultures.

            Motion picture making occurs in three clearly defined sequential phases -
            pre-production, principal photography and post-production - and many film
            crew positions are associated with only one or two of the phases.
            Distinctions are also made between above-the-line personnel (such as the
            Director, the Screenwriter and the Producers) and the below-the-line
            "technical" crew.

            Producers:

            Executive Producer

            An Executive Producer (EP) is a producer who is not involved in the
            technical aspects of the filmmaking process in the original definition, but
            has played a financial or creative role in ensuring that the project goes
            into production.

            Producer

            A Film Producer creates the conditions for filmmaking. 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 film making process from
            development to completion of a project. There may be several producers on a
            film who may take a role in a number of areas, such as development,
            financing or production. Producers must be able to identify commercial,
            marketable projects. They need a keen business sense and an intimate
            knowledge of all aspects of film production, financing, marketing and
            distribution. Producers are responsible for the overall quality control of
            productions.

            Line Producer

            The Line Producer is the liaison between the Studio or Producer and the
            Production Manager, responsible for managing the production budget. The
            title is associated with the idea that he/she is the person who is "on the
            line" on a day-to-day basis and responsible for lining up the resources
            needed.

            Production Manager

            The Production Manager (PM) supervises the physical aspects of the
            production (not the creative aspects) including personnel, technology,
            budget and scheduling. It is the PM's responsibility to make sure the
            filming stays on schedule and within its budget. The PM also helps manage
            the day-to-day budget by managing operating costs such as salaries,
            production costs and everyday equipment rental costs. The PM often works
            under the supervision of a Line Producer and directly supervises the
            Production Coordinator.

            Assistant Production Manager

            The Assistant Production Manager is the chief assistant to the Production
            Manager (PM) and carries out various jobs for the PM. Normally only big
            budget feature films have an Assistant PM.

            Unit Manager

            The Unit Manager fulfills the same role as the production manager but for
            secondary "unit" shooting. In some functional structures, the Unit Manager
            subsumes the role of the Transport Coordinator.

            Production Coordinator

            The Production Coordinator is the information nexus of the production,
            responsible for organizing all the logistics from hiring crew, renting
            equipment and booking talent. The PC is an integral part of film
            production.

            Production Assistant

            Production Assistants, referred to as PAs, assist in the production office
            or in various departments with general tasks, such as assisting the First
            Assistant Director with set operations.

            Directors:

            Director

            The Director is responsible for overseeing the creative aspects of a film,
            including controlling the content and flow of the film's plot, directing the
            performances of actors, organizing and selecting the locations in which the
            film will be shot and managing technical details such as the positioning of
            cameras, the use of lighting and the timing and content of the film's
            soundtrack. Though directors wield a great deal of power, they are
            ultimately subordinate to the film's Producer or Producers.

            Second Unit Director

            The Second Unit Director is responsible for overseeing the photography
            assigned to the second unit, which can range from minor insert shots to
            large stunt sequences. The Second Unit Director position is frequently
            filled by a member of the production, most often the editor or stunt
            coordinator.

            First Assistant Director

            The First Assistant Director (1st AD) assists the Production Manager and
            Director. The ultimate aim of any 1st AD is to ensure the film comes in on
            schedule while maintaining a working environment in which the Director,
            principal artists (Actors) and crew can be focused on their work. They
            oversee day-to-day management of the cast and crew scheduling, equipment,
            script and set. A 1st AD may also be responsible for directing background
            action for major shots or the entirety of relatively minor shots, at the
            Director's discretion.

            Second Assistant Director

            The Second Assistant Director (2nd AD) is the chief assistant of the 1st AD
            and helps carry out those tasks delegated to the 1st AD. The 2nd AD may
            also direct background action and extras in addition to helping the 1st AD
            with scheduling, booking, etc. The 2nd AD is responsible for creating Call
            Sheets that let the crew know the schedule and important details about the
            shooting day.

            Other Assistant Directors

            Sometimes Other Assistant Directors are needed. There are 2nd 2nd Assistant
            Director (2nd 2nd AD) who control big crowd extras and make sure if shooting
            on location none of the public get into shots.

            Accounting:

            Production Accountant

            Production Accountants manage the money and ensure the production comes in
            on budget and everyone gets paid and are often assisted by Assistant
            Accountants, sometimes called clerks, responsible for accounts receivable,
            accounts payable and payroll.

            Locations:

            Location Manager

            A Location Manager oversees the Locations Department and its staff,
            typically reporting directly to the Production Manager and/or Assistant
            Director (or even Director and/or Executive Producer). Location Manager is
            responsible for final clearing (or guaranteeing permission to use) a
            location for filming and must often assist Production/Finance Department(s))
            in maintaining budget management regarding actual location/permit fees as
            well as labor costs to production for himself and the Locations Department
            at large.

            Assistant Location Manager

            Works with the Location Manager and the various departments in arranging
            technical scouts for the essential staff (grips, electric, camera, etc.) to
            see options which the Location Manager has selected for filming. The
            Assistant Location Manager will be onset during the filming process to
            oversee the operation, whereas the Location Manager continues pre-production
            from elsewhere (generally an office) on the upcoming locations. (Note: On
            most location-based television shows, there will be two Assistant Location
            Managers that alternate episodes, allowing one to prep an upcoming episode
            while the other is on-set with the current one.)

            Location Scout

            Does much of the actual research, footwork and photography to document
            location possibilities. Often the Location Manager will do some scouting
            himself, as well as the Assistant Location Manager.

            Location Assistant

            Hired by the Location Manager to be on-set before, during and after the
            filming process. General responsibilities include arriving first at the
            location to allow the Set Dressers into the set for preparation; maintaining
            the cleanliness of the location areas during filming; fielding complaints
            from neighbors; and, ultimately, at the end of the filming, making sure it
            seems as though the film crew was never there. There is generally one to
            three assistants on a shoot at any given time.

            Location Production Assistant

            This position exists generally on larger budget productions. The Locations
            PA is the assistant who is almost never on-set, but instead is always
            prepping a location or wrapping a location. That is, when a location
            requires several days of set up and breakdown prior and following the day(s)
            of filming.

            Miscellaneous Personnel:

            Unit Publicist

            The Publicist liaises between the film production and the media. They
            create press releases, in collaboration with the producers and work with the
            Stills Photographer.

            Legal Counsel

            Entertainment Lawyers negotiate contracts, clear licensing rights for any
            intellectual property used in the film, obtain tax credits from local
            governments and take care of immigration paperwork when cast and/or crew
            cross international borders to shoot on location.

            System Administrator

            A System Administrator is a person employed to maintain and operate a
            computer system or network. This role is increasingly important for digital
            monitors on set, digital intermediate editing and post production, digital
            effects, digital sound and sometimes for full digital production.

            Continuity:

            Script Supervisor

            The Script Supervisor keeps track of what parts of the script have been
            filmed and makes notes of any deviations between what was actually filmed
            and what appeared in the script. They make notes on every shot and keep
            track of props, blocking and other details to ensure continuity from shot to
            shot and scene to scene. The Script Supervisor's notes are given to the
            Editor to expedite the editing process. The Script Supervisor works very
            closely with the Director on set.

            Casting:

            Casting Director

            The Casting Director chooses the actors to audition for the characters of
            the film. This usually involves inviting potential actors to perform sides
            from the script for a taped audition which will be viewed by the Director
            and others involved in the selection of the cast. The Casting Director
            works closely with the Director to insure the right actors are selected.
            The Director will usually only attend Callbacks prior to the offering of the
            roles to the various actors.

            Camera & Lighting:

            Director of Photography

            The Director of Photography (DP) is the chief of the camera and lighting
            crew of the film. The DP makes decisions on lighting and framing of shots in
            conjunction with the film's director. Typically, the Director tells the DP
            how he/she wants a shot to look and the DP chooses the correct lens, filter,
            lighting and composition to achieve the desired aesthetic effect. The DP is
            the senior creative crew member after the director. The DP may also be
            called the Cinematographer.

            Camera Operator

            The Camera Operator uses the camera at the direction of the Cinematographer,
            Director of Photography or the film Director to capture the scenes on film
            or video. Generally, a Cinematographer or Director of Photography does not
            operate the camera, but sometimes these jobs may be combined.

            First Assistant Camera

            The First Assistant Camera, 1st AC or Focus Puller, is responsible for
            keeping the camera in focus as it is shooting, as well as building the
            camera at the beginning of the day and taking it apart at the end. They
            also thread the film when a new magazine is loaded.

            Second Assistant Camera

            The Second Assistant Camera, 2nd AC or Clapper loader, operates the
            clapperboard at the beginning of each take and loads the raw film stock or
            blank videocassette into the camera magazines between takes, if there is no
            additional specifically designated Film Loader. The 2nd AC is also in
            charge of overseeing the meticulously kept notebooks that record when the
            film stock is received, used and sent to the lab for processing.
            Additionally, the 2nd AC oversees organization of camera equipment and
            transport of the equipment from one shooting location to another.

            Film Loader

            The Loader transfers motion picture film from the manufacturer's light-tight
            canisters to the camera magazines for attachment to the camera by the 2nd
            AC. After exposure during filming, the Loader then removes the film from
            the magazines and places it back into the light-tight cans for transport to
            the laboratory. It is the responsibility of the Loader to manage the
            inventory of film and communicate with the 1st AC on the film usage and
            remaining stock throughout the day. On small production crews, this job is
            often combined with the 2nd AC. With the prevalence of digital photography,
            this role is taken on by the Digital Imaging Technician.

            Camera Production Assistant

            The Camera PA assists the crew while learning the trade of the Camera
            Assistant, Operator or Cinematographer.

            Digital Imaging Technician

            On digital photography productions the Digital Imaging Technician (DIT) is
            responsible for the coordination of the internal workings of the digital
            camera. Under the direction of the Cinematographer or Director of
            Photography, the DIT will make adjustments to the multitude of variables
            available in most professional digital cameras to creatively or technically
            manipulate the resulting image. It may also be the responsibility of the
            DIT to archive and manage the digital data, create compressed dailies from
            raw footage and prepare all digital images for post-production.

            Steadicam Operator

            A Steadicam Operator is someone who is skilled at operating a Steadicam
            (trademark for a camera stabilization rig). This person is usually one of
            the Camera Operators on the production.

            Motion Control Technician/Operator

            This Technician operates a motion control rig, which essentially is a
            "camera robot" able to consistently repeat camera moves for special effects
            uses. Motion control rigs are typically rented with an experienced operator.

            Lighting:

            Gaffer

            The gaffer is the head of the Lighting Department, responsible for the
            design of the lighting plan for a production.

            Best Boy (Lighting)

            The Best Boy is the chief assistant to the Gaffer. He or she is not usually
            on set, but dealing with the electric truck, rentals, manpower and other
            logistics.

            Lighting Technician

            Lighting Technicians are involved with setting up and controlling lighting
            equipment.

            Electrical:

            Electricians

            Electricians assist the lighting crew but are not part of the lighting crew.
            They are responsible for the execution of the electrical distribution around
            the set from lights to the director's coffee maker.

            Grip

            Grips are trained Lighting and Rigging Technicians. Their main
            responsibility is to work closely with the Electrical Department to put in
            the non-electrical components of lighting set-ups required for a shot, such
            as flags, overheads and bounces. On the sound stage, they move and adjust
            major set pieces when something needs to be moved to get a camera into
            position..

            Key Grip

            The Key Grip is the chief Grip on a set and is the head of the Set
            Operations Department. The Key Grip works with the Director of Photography
            to help set up the set and to achieve correct lighting and blocking.

            Best Boy (Grip)
            The Best Boy is chief assistant to the Key Grip. He/she is also responsible
            for organizing the grip truck throughout the day.

            Dolly Grip

            The Grip in charge of operating the camera dollies and camera cranes is
            called the Dolly Grip. They place, level and move the dolly track, then
            push and pull the dolly and usually a Camera Operator and Camera Assistant
            as riders.

            Grips

            Grips report to the Key Grip and are responsible for lifting heavy things
            and setting rigging points for lights.

            Art Department:

            The Art Department in a major feature film can often number hundreds of
            people. Usually it is considered to include several sub-departments: the
            Art Department proper, with its Art Director, Set Designers and Draftsmen;
            Set Decoration, under the Set Decorator; Props, under the Props Master;
            Construction, headed by the Construction Coordinator; Scenic, headed by the
            Key Scenic Artist; and Special Effects.

            Production Designer

            The Production Designer is responsible for creating the visual appearance of
            the film: settings, costumes, character makeup, all taken as a unit. The
            Production Designer works closely with the Director and the Director of
            Photography to achieve the look of the film.

            Art

            Within the overall Art Department is a sub-department, also called the Art
            Department which can be confusing. This consists of the people who design
            the sets and create the graphic art.

            Art Director

            The Art Director reports to the Production Designer and more directly
            oversees artists and craftspeople, such as the Set Designers, Graphic
            Artists and Illustrators who give form to the production design as it
            develops. The Art Director works closely with the Construction Coordinator
            and Key Scenic Artist to oversee the aesthetic and textural details of sets
            as they are realized. Typically, the Art Director oversees the budget and
            schedule of the overall art department. On large-budget productions with
            numerous sets and several Art Directors, one might be credited as
            Supervising Art Director or Senior Art
            Director.

            Assistant Art Director

            The First, Second and Third Assistant Art Directors carry out the
            instructions of the Art Director. Their work often involves measuring
            locations, collecting information for the Production Designer. Sometimes a
            Set Designer is also the First Assistant Art Director. In this capacity,
            they manage the work flow and act as the foreman of the drawing office.

            Set Designer

            The Set Designer is the Draftsman, often an architect, who realizes the
            structures or interior spaces called for by the Production Designer.

            Illustrator

            The Illustrator draws or paints visual representations of the designs to
            communicate the ideas imagined by the Production Designer. Illustrators are
            sometimes credited as Concept Artists.

            Graphic Artist

            The Graphic Artist is responsible for the design and creation of all graphic
            elements, including: signs, billboards, posters, logos, nameplates and
            automotive-wrapping that are created specifically for the film. They will
            often create several versions of a design, the preferred of which then being
            chosen by the Production Designer. On certain productions, they may also be
            employed, under the direction of the Props Master, in the creation of small,
            printed items, such as fliers, receipts, bills of sale, etc.

            Sets:

            Set Decorator

            The Set Decorator is in charge of the decorating of a film set, which
            includes the furnishings and all the other objects that will be seen in the
            film. They work closely with the Production Designer and coordinate with
            the Art Director. In recognition of the Set Decorator's importance, the
            Academy Award for Art Direction is given jointly to both the Production
            Designer and the Set Decorator.

            Buyer

            The Buyer works with, and reports to, the Set Decorator. The Buyer locates
            and then purchases or rents the set dressing.

            Lead Man

            The Lead Man (or Leadsman) is the foreman of the set dressing crew, often
            referred to as the swing gang. He/she also assists the Set Decorator.

            Set Dresser

            The Set Dressers apply and remove the "dressing", i.e., furniture, drapery,
            carpets, wall signs, vinyl decals, everything one would find in a location,
            (even doorknobs and wall sockets, when such items do not fall under the
            purview of Construction.) Most of the swing gang's work occurs before and
            after the shooting crew arrives, but one set dresser remains with the
            shooting crew and is known as the On-set
            Dresser.

            Greensman

            The Greensman is a specialized Set Dresser dealing with the artistic
            arrangement or landscape design of plant material, sometimes real and
            sometimes artificial and usually a combination of both. Depending on the
            scope of the greens work in a film, the Greensman may report to the Art
            Director or may report directly to the Production Designer. The Greensman
            can usually identify potential problems when shooting outdoors, i.e. poison
            oak or poison ivy, etc.

            Construction:

            Construction Coordinator

            The Construction Coordinator oversees the construction of all the sets. The
            Coordinator orders materials, schedules the work and supervises the often
            sizeable construction crew of Carpenters, Painters and Laborers. In some
            jurisdictions the Construction Coordinator is called the Construction
            Manager.

            Head Carpenter

            The Head Carpenter is the foreman of a group of Carpenters and Laborers.

            Key Scenic Artist

            The Key Scenic Artist is responsible for the surface treatments of the sets.
            This includes special paint treatments such as aging and gilding, as well as
            simulating the appearance of wood, stone, brick, metal, stained glass;
            anything called for by the Production Designer. The Key Scenic Artist
            supervises the crew of Painters and is often a master craftsperson.

            Property:

            Props Master

            The Property Master is in charge of finding and managing all the props that
            appear in the film. These include any item handled by an actor that is not
            part of the scenery or costumes, and all consumable food items that appear
            on screen. In period works, it is the Property Master's job to ensure that
            all the props provided are accurate to the time period. The Props Master
            usually has several assistants.

            Prop-Maker

            The Prop-Maker, as the name implies, builds the props that are used for the
            film. Props builders are often technicians skilled in construction,
            plastics casting, machining and electronics.

            Weapons Master

            The Weapons Master is a specialized Prop Technician who deals with firearms.
            In most jurisdictions this requires special training and licenses.

            Costume Department:

            Costume Designer

            The Costume Designer is responsible for all the clothing and costumes worn
            by all the actors that appear on screen. They are also responsible for
            designing, planning and organizing the construction of the garments down to
            the fabric, colors, and sizes. The Costume Designer works closely with the
            Director to understand and interpret "character" and counsels with the
            Production Designer to achieve an overall tone of the film. In large
            productions, the Costume Designer will usually have one or more Assistant
            Costume Designers.

            Costume Supervisor

            The Costume Supervisor works closely with the Designer. In addition to
            helping with the design of the costumes, they manage the wardrobe workspace.
            They supervise construction or sourcing of garments, hiring and firing of
            support staff, budget, paperwork and department logistics.

            Key Costumer

            The Key Costumer is employed on larger productions to manage the set
            costumers and to handle the Star's wardrobe needs.

            Costume Standby

            The Costume Standby is present on set at all times. It is his/her
            responsibility to monitor the quality and continuity of the actors and
            actresses costumes before and during takes. He/she will also assist the
            actors and actresses with dressing.

            Costume Buyer

            On large productions a buyer may be employed to source and purchase fabrics
            and garments. A Buyer might also be referred to as a Shopper. This
            distinction is often made when the Lead Actors in a production have control
            over their wardrobe and they may personally hire this person.

            Cutter
            A Costume Technician who fits or tailors costumes, usually on-set.

            Hair and Makeup:
            (Some actors or actresses have personal Makeup Artists or Hair Stylists.)

            Key Makeup Artist

            The Key Makeup Artist is the department head who answers directly to the
            Director and Production Designer. They are responsible for planning makeup
            designs for all leading and supporting cast. Their department includes all
            cosmetic makeup, body makeup and if special effects are involved, the Key
            Make-up artist will consult with a Special Effects makeup team to create all
            prosthetics and SFX makeup in a production. It is common that the Key
            Makeup Artist performs makeup applications on lead cast, with assistance,
            and allows other crew members to work with supporting and minor roles. The
            Key Makeup Artist will normally execute especially complicated or important
            makeup processes that are to be featured on camera.

            Makeup Supervisor

            The Makeup Supervisor is a supporting position who normally reports to the
            Key Makeup Artist to assist in running the makeup department. Makeup
            Supervisors typically handle production matters and generally serve the
            needs of senior artists. Makeup supervisors rarely do makeup themselves.
            Their duties can include keeping a record of makeup continuity, handing the
            scheduling of makeup teams and providing for the general needs of the makeup
            department. They are expected to be a connection between the makeup
            department and the rest of the production departments, making sure that
            makeup supplies, production assistants or electricians are on hand when
            needed.

            Makeup Artist

            Makeup Artists work with makeup, hair and special effects to create the
            characters look for anyone appearing on screen. They assist and report to
            the Key Makeup Artist.

            Key Hair

            The Key Hair is the department head that answers directly to the Director
            and production Designer. The Key Hair will normally design and style the
            hair of lead actors.

            Hair Stylist

            The Hair Stylist, is responsible for maintaining and styling the hair,
            including wigs and extensions, of anyone appearing on screen. They assist
            and report to the Key Hair.

            Special Effects:

            This department oversees the mechanical effects, also called practical or
            physical effects, that create optical illusions during live-action shooting.
            It is not to be confused with the Visual Effects Department, which adds
            photographic effects during filming to be altered later during video editing
            in the post-production process.

            Special Effects Supervisor

            The Special Effects Supervisor instructs the Special Effects crew on how to
            design moving set elements and props that will safely break, explode, burn,
            collapse and implode without destroying the film set. He/she is also
            responsible for reproducing weather conditions and other on-camera magic.

            Special Effects Assistant

            The SFX Assistants carry out the instructions of the Special Effects
            Supervisor, building set pieces like breakaway furniture and cities in
            miniature, lighting pyrotechnics and setting up rigging equipment for
            stunts.

            Stunts:

            Stunt Coordinator
            Where the film requires a stunt and involves the use of stunt performers,
            the Stunt Coordinator will arrange the casting and performance of the stunt,
            working closely with the Director and the 1st AD.

            Production Sound:

            Production Sound Mixer

            The Production Sound Mixer is head of the sound department on set,
            responsible for recording all sound during filming. This involves the
            choice and deployment of microphones, operation of a sound recording device,
            and the mixing of audio signals in real time.

            Boom Operator

            The Boom Operator is an assistant to the Production Sound Mixer, responsible
            for microphone placement and movement during filming. The Boom Operator
            uses a boom pole, a long pole made of light aluminum or carbon fiber that
            allows precise positioning of the microphone above or below the actors, just
            out of the camera's frame. The Boom Operator may also place radio
            microphones and hidden set microphones.

            Utility Sound Technician

            The utility Sound Technician has a dynamic role in the Sound Department,
            most typically pulling cables, but often acting as an additional Boom
            Operator or Mixer when required by complex filming circumstances. Not all
            films employ a Utility Sound Technician, but the increasing complexities of
            location sound recording in modern film have made the job more prevalent.

            Post-Production:

            Post-Production Supervisor

            Post-Production Supervisors are responsible for the post-production process,
            during which they maintain clarity of information and good channels of
            communication between the Producer, Editor, Supervising Sound Editor, the
            Facilities Companies (such as film labs, CGI studios and Negative Cutters)
            and the Production Accountant. Although this is not a creative role, it is
            pivotal in ensuring that the film's post-production budget is manageable and
            achievable and that all deadlines are met. Because large amounts of money
            are involved, and most of a film's budget is spent during production, the
            post-production period can often be difficult and challenging.

            Editorial:

            Film Editor

            The Film Editor is the person who assembles the various shots into a
            coherent film, with the help of the Director. There are usually several
            Assistant Editors.
            Negative Cutter

            The Negative Cutter cuts and splices the negatives as directed by the Film
            Editor and then provides the assembled negative reels to the lab in order
            for prints (positives for projection) to be made.

            Colorist

            With a photochemical process, the color timer adjusts the color of the film
            via printer lights for greater consistency in the film's colors. With a
            digital intermediate process, the Colorist can use digital tools in
            manipulating the image and has greater creative freedom in changing the
            aesthetic of a film.

            Telecine Colorist

            A Telecine Colorist is responsible for a grade, that is a look that has been
            created with a grading system which adjusts brightness, contrast and color.

            Visual Effects:

            Visual Effects commonly refers to post-production alterations of the film's
            images. The on- set VFX crew works to prepare shots and plates for future
            Visual Effects. This may include adding tracking markers, taking and asking
            for reference plates and helping the Director understand the limitations and
            ease of certain shots that will effect the future post production. A VFX
            crew can also work alongside the Special effects Department for any on-set
            optical effects that need physical representation during filming (on
            camera.)

            Visual Effects Producer

            The Visual Effects Producer works with the Visual Effects Supervisor to
            break down the script into storyboards and advises the Director as to how
            s/he should approach the scenes. Together they determine which sequences are
            to be shot as live action elements, which would work well in miniature and
            which (if any) should be computer generated.

            Visual Effects Creative Director

            VFX Creative Directors are very much like Production Designers, except they
            direct and supervise the creative side of the film's visual effects. The
            position is particularly in demand for films with massive amounts of
            computer generated imagery and scenes.

            Visual Effects Supervisor

            The Visual Effects Supervisor is in charge of the VFX crew, working with
            production and the film's Director to achieve the desired in-camera optical
            effects of the film.

            Visual Effects Editor

            The Visual Effects Editor incorporates visual effects into the current cuts
            of live action sequences, producing multiple versions of each shot. Altered
            scenes are then evaluated by the Visual Effects Supervisor and Creative
            Director for aesthetic and technical direction and by the Producers for
            review and final editing.

            Compositor

            A Compositor is a Visual Effects Artist responsible for compositing images
            from different sources such as video, film, computer generated 3-D imagery,
            2-D animations, matte paintings, photographs and text.

            Rotoscope Artists/ Paint Artists

            Rotoscope and Painters Artists may rotoscope the footage, manually creating
            mattes for use in compositing. They may also paint visual information into
            or out of a scene, such removing wires and rigs, logos, dust busting,
            scratch removal, etc.

            Matte Painter

            Matte Painters draw/paint entire sets or extend portions of an existing set.

            Sound/Music:

            Sound Designer

            The Sound Designer is in charge of the post-production sound of a movie.
            Sometimes this may involve great creative license and other times it may
            simply mean working with the Director and Editor to balance the sound to
            their liking.

            Dialogue Editor

            The Dialogue Editor is responsible for assembling and editing all the
            dialogue in the soundtrack.

            Sound Editor

            The Sound Editor is responsible for assembling and editing all the sound
            effects in the soundtrack.

            Re-recording Mixer

            The Re-recording Mixer balances all of the sounds prepared by the dialogue,
            music and effects editors and finalizes the films audio track.

            Music Supervisor

            The Music Supervisor works with the Composer, Mixers and Editors to create
            and integrate the film's music. A Music Supervisor's primary responsibility
            is to act as liaison between the film production and the recording industry,
            negotiating the use rights for all source music used in a film.

            Composer

            The Composer is responsible for writing the musical score for a film.

            Foley Artist

            The Foley Artist is the person who creates many of the ambient or routine
            sound effects for a film.

            Wow! This was a long one! And one of the reasons is that not only should
            you know who everyone on a set is, but what they do! And another reason, is
            that if you truly love the film industry this will show you how many ways
            there are to work on a production should you decide to go to the other side
            of the camera. Keep in mind that crew tend to work a lot more than actors!

            Thanks to all of you who have been kind enough to write about the monthly
            column. And, as always, thanks to Dan Eggleston for his approval in doing
            this and posting it to his various sites.

            Let me know if you have any specific questions you'd like answered.

            And remember, I am expressing my opinion only, not that of any other CD.
            Also, always keep in mind, that your agent has the final word on everything
            pertaining to your career, so listen to him/her!

            Happy Flag Day, Happy Father's Day, Happy First Day of Summer and hope to
            see you at the Network Austin Mixer on the 11th!

            Donise L. Hardy, CSA
            C June 1, 2014
            donise@...
            www.acastingplace.net
          • Donise
            This is a few days early, but you’ll know why I have posted it when you have a chance to read... FOR WHAT IT’S WORTH… Let’s talk about the so-called
            Message 5 of 5 , May 29
            • 0 Attachment
              This is a few days early, but you’ll know why I have posted it when you have a chance to read...
               

              FOR WHAT IT’S WORTH…

               

              Let’s talk about the so-called Texas Moving Image Industry Incentives Program…

               

              I haven’t read the announcement, but having seen it posted on Facebook, I am writing the following FWIW!

              Texas so-called Legislators have just slashed $63 MILLION from our already severely under-funded Texas Moving Image Industry Incentives Program!!!!!!!!!!!!

              Back to watching all the planes fly right over TX to LA, GA, FL, SC, etc.  Watch all our millions and millions of potential dollars go right on by to states who have brains in the legislatures!  Obviously, TX doesn't.  SHAME ON YOU, LEGISLATORS!  YOU'VE POSSIBLY RUINED AN ENTIRE MONEY-MAKING AND TAX-PAYING INDUSTRY IN ONE SWIFT MOVE.

              We have all worked like demons to create and maintain a thriving film, TV and commercial industry here employing thousands and thousands of people despite the lack of competitive incentives allowed by other states, and yet filling the coffers of cities throughout TX with money from film crews, actors, fees, taxes, hotels, restaurants, rental cars, rental equipment, dry cleaners, ice suppliers, motels, diners, transportation, tourism, souvenirs and on and on...

              LET'S GET EVEN AND VOTE THEM ALL OUT IN THE NEXT ELECTION!!! ALL OF THEM! OUT!

              IF I SOUND FURIOUS, IT IS BECAUSE I AM!!!!!!!!!!!

              Please feel free to post this anywhere you can.

              And, let’s put our money where our mouths are.  If you would like to be a part of a grass-roots organization to OUST all Legislators who voted for this devastating piece of legislation, please send me your name and email address.  I will be happy to organize a list of all interested parties, organize a meeting to see with whom we should work and get the ball rolling in order to be most effective.  There are a lot of very intelligent people out there who know how to do this.  We need you to help us! 

              Please email:  donise@...

              Scene.

              Thanks to all of you who have been kind enough to write about the monthly column.  And, as always, thanks to Dan Eggleston for his approval in doing this and posting it to his various sites.

               

              Let me know if you have any specific questions you'd like answered.

               

              And remember, I am expressing my opinion only, not that of any other CD.  Also, always keep in mind, that your agent has the final word on everything pertaining to your career, so listen to him/her!

               

              Happy Father’s Day!  Happy Flag Day!  Happy 1st day of Summer!

               

              Hope to see all of you on Wednesday, June 10th at the Network Austin Mixer!  Come early! Stay late!  PLEASE CARPOOL! For more information visit www.networkaustinmixer.com

               

              Donise L. Hardy, CSA

              © June 1, 2015

              donise@...     

              www.acastingplace.net

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