Loading ...
Sorry, an error occurred while loading the content.

FOR WHAT IT'S WORTH!

Expand Messages
  • 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 1 of 4 , Sep 1, 2013
    • 0 Attachment
      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 2 of 4 , Apr 1, 2014
      • 0 Attachment
        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 3 of 4 , Jun 1, 2014
        • 0 Attachment
          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
        Your message has been successfully submitted and would be delivered to recipients shortly.