Below is a wedding video that I have done during my early time as a up an coming videographer.
My future career goals is to find a career as camera operator or video editor for a production company or news station.
If that does not work out for me I am going to pursue a career as a videographer doing wedding and special events until have build my name up enough to venture off into doing commercials, dance recitals, graduations or even travel doing wedding in other states.
Good afternoon everyone, today I am coming to talk to you about Unit Stills Photographer according to Creative skill set.
http://creativeskillset.org/creative_industries/film/job_roles/399_unit_stills_photographer
Unit Stills Photographers take the photographs of film sets or studio shoots that are used to create the press and publicity for feature films.
When used well, these images can contribute to a film’s success. Unit Stills Photographers usually work on set, recording scenes from the film; alternatively, they may be required to set up photographs in the style of the film in a studio environment.
Many stars have a clause written into their contracts enabling them to ‘kill’ any images of themselves which they do not approve; the bigger the star, the greater the ‘kill factor’, which can be as high as 75%. Unit Stills Photographers must be prepared for the rejection of what they may think is their best work.
Unit Stills Photographers work on a freelance basis, employed by producers, film PR companies, film sales agents or distributors. They usually combine unit stills work with a variety of other professional photography (portraiture, travel, beauty, editorial, film festivals and special events).
The hours are long and they often spend considerable periods of time away from home.
On medium-sized films, they are usually employed for at least 15 days; they run through the shooting schedule with the film PR to decide on the best days to visit the set. On big budget films, they may be required to be on set every day.
Unit Stills Photographers position themselves as close to the film camera as possible, and shoot every scene in detail using a piece of equipment called a Blimp, which houses the stills camera and cuts out any noise it might make.
Once their work is completed, all the images are sent to the sales company, distributor, film PR or publicist, which then use them for the press and adverting campaign.
Have you thought about what it takes to be a Unit Stills Photographer? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about Sound Recordist according to Creative skill set.
http://creativeskillset.org/creative_industries/tv/job_roles/312_sound_recordist
Sound Recordists (also known as Production Mixers) record sound on location or in a studio, usually in synchronization with the camera, to enable the highest quality ‘real’ sound to be recorded at the time of filming.
They monitor the quality of the sound recording through headphones and work closely with the Director, Boom Operatorand sometimes the Sound Editor, often using multiple microphones.
Jobs in sound generally fall into two areas: production sound and post production sound. Sound Recordists/Production Mixers work in production sound.
It is their job to set up talkback communication between production staff, presenters and artists and other communication systems such as ‘live’ links by landline, microwave link or satellite. They also record sound effects and atmosphere tracks.
Sound Recordists/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production, they may work closely with the Director and Producer at the planning stage to clarify technical requirements and budgets.
They are responsible for producing the final sound mix, so they directly supervise the Sound Assistants and Boom Operators. Sometimes, they also manage the rest of the sound crew. They may also occasionally operate the boom themselves. They often have to supervise frontline maintenance in order to keep the production on track.
Have you thought about what it takes to be a Sound Recordist? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about Vision Mixer according to Creative skill set.
http://creativeskillset.org/creative_industries/tv/job_roles/318_vision_mixer
Vision Mixers edit programmes live (as they are being transmitted or recorded), using a variety of transition methods, such as cuts, mixes, wipes and frame manipulation. They join together images from various visual sources, including cameras, video tape recorders (VTR Machines), graphic generators and digital video effects (DVEs). They are the Director‘s ‘second pair of eyes’ in the gallery.
Vision Mixers work on programmes that are either transmitted live, recorded as live, or pre-recorded in a multi-camera environment in studios or during Outside Broadcasts (OBs). On studio-based programmes, Vision Mixers work in the production gallery, on OBs they are based in the mobile production gallery in the OB vehicle.
In pre-production for a news, current affairs or light entertainment programming, Vision Mixers work from running orders, usually prepared by Producers, which outline the premise of the programme, and detail the shot requirements. They then work closely with Directors to interpret the script, discussing which transitions are required from shot to shot, whether and when visual effects and/or graphics should be used, and suggesting alternatives where certain transitions are impossible.
Vision Mixers must be aware of the capabilities and limitations of different vision mixing desks, and suggest ways of using them to fulfil the Director’s vision for each production.
During recording or live transmission, Vision Mixers work with the Director to visually create the programme. Vision Mixers must be able to multitask, as they may be required to cut from shot to shot during a live interview at the same time as listening to the Producer’s instructions to the Director about the next item to be transmitted, at the same time as setting up the next transition on the effects bank, at the same time as listening to the Production Assistant’s countdown to the next item.
As running orders on news programmes can change by the second, Vision Mixers must be able to react quickly and accurately to rapidly changing demands. They often work from more than one visual source, for example when adding graphics with the required name, location and date, to relevant shots.
On some light entertainment, and all sitcoms, soaps and drama, Vision Mixers use rehearsals to practice the required transitions, and where appropriate to suggest alternatives to Directors. They make detailed notes on the camera script about transition types, graphics and technical effects.
On music programming, Vision Mixers are given more leeway and must cut to the music or beat, or to a musical score, particularly when working on classical music productions. On live productions, they are required to react quickly when problems arise, for example by cutting to another suitable camera source smoothly and calmly.
On especially complicated productions, particularly in light entertainment, two vision mixers may work together: one vision mixing, the other operating all other equipment, such as Stills Store, DVE, hard disc/VT play-ins.
Have you thought about what it takes to be a Vision Mixer? Please share your comments with me and others because I have more to share tomorrow.
Good morning everyone, today I am coming to talk to you about Camera Assistant (Portable Single Camera) according to Creative skill set.
Camera Assistants offer general support to the camera department, carrying out simple tasks such as collecting camera equipment from a hire company, and delivering messages to the production office. There are two main types of Camera Assistant, Second Camera Assistants and First Camera Assistants.
Second Camera Assistants have specific responsibilities involving camera maintenance and film or tape stock control. On productions shot on film, they load and unload the camera magazine (a removable section of the camera that houses each roll of film) and ensure that the correct stock (type of film) is used. They also charge camera batteries and ensure that other camera accessories are ready (standing by) in case the Director of Photography (DoP or DP) or Camera Operator requests them.
Second Camera Assistants are also responsible for the clapperboard and write daily camera reports, logging how much film has been shot, which shots are on each roll of film, and any special processing instructions, or the numbers of tapes used, and time-code details. They may also take the daily rushes (unedited material) to the laboratory or hand them over to the production office.
First Camera Assistants (Focus Pullers) give more hands-on support to Camera Operators and DPs. They calculate the correct focus settings for each shot and all other camera variables. They prepare the camera and adjust it during filming so as to keep specific parts of the shot in focus (known as ‘pulling focus’). Throughout each shooting day, they also check and store (‘wrap’) the camera kit.
On documentaries or factual programmers, the camera department is much smaller than on film shoots, usually only involving a Lighting Cameraperson or Camera Operator and a Camera Assistant. Camera Assistants offer support to the Lighting Cameraperson or Camera Operator by preparing and labelling tapes and other materials, maintaining and preparing camera accessories and lighting equipment, and assisting with camera operation.
Have you thought about what it takes to be a Camera Assistant (Portable Single Camera)? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about Boom Operator (TV) according to Creative skillset.
http://creativeskillset.org/creative_industries/tv/job_roles/286_boom_operator_tv
TV Boom Operators control the long boom arm, either handheld or dolly-mounted (on wheels) with the microphone attached, maneuvering it as close to the action as possible without getting it in shot, in order to achieve the best quality sound recording. They work on location and in the studio, under the supervision of the Sound Supervisor or Sound Recordist.
Jobs in sound generally fall into two areas: production sound and post production sound. Boom Operators work in production sound.
They may have to learn the script in order to anticipate lines and to move the boom arm accordingly. They are responsible for fitting radio microphones to artists, for placing microphones appropriately for a required shot, and for keeping Sound Recordists informed of changes on the set. Depending on the scale of the production, Boom Operators may also have to make simple recordings and undertake basic repairs.
Boom operating is not only about positioning microphones or following the instructions of the Sound Recordist. It also involves accurately hearing sound, knowing what the camera is shooting, understanding camera lenses and focal lengths. An understanding of basic lighting techniques is necessary to understand how to avoid casting boom and microphone shadows on artists and set. Knowledge of lens sizes and camera angles is required in order to understand the frame limits and to keep the microphone as close as possible to the artists, but clear of the picture.
You won’t need a qualification to be a TV Boom Operator. However, it is vital to be able to show a strong interest in sound and an understanding of its physical properties.
Courses are available throughout the UK, including City & Guilds qualifications, BTEC National Certificates and Diplomas, foundation degrees and first degrees, and postgraduate degrees and diplomas. Relevant subjects include audio and recording technology, sound engineering, music technology, film and TV production, and media production (sound recording).
Have you thought about what it takes to be a Boom Operator (TV)? Please share your comments with me and others because I have more to share tomorrow.
Good morning everyone, today I am coming to talk to you about Audio/Dubbing Assistant according to Creative skill set.
http://creativeskillset.org/creative_industries/film/job_roles/3852_audio_dubbing_assistant
Audio or Dubbing Assistants manage the preparation and maintenance of all audio suites. They assist in voice over recording and audio conforming. They locate the musical effects, for the editor and client and order them from libraries. They log and store tapes, record and file reports, and print out labels.
They also import relevant music files. They carry out general troubleshooting in audio suites. They work closely with both Picture and Sound Editors, and with Edit Assistants.
Some Post Production companies have their own audio dubbing facilities, but most rely on Audio Post Production Houses.
Know where to find effects, music and sourced material
Understand the workings of voice over recording studios.
Be aware of industry standard labelling
Be familiar with audio and dubbing systems
Be able to solve any basic technical problems
Understand the operation of edit suites
Understand different industry formats and technical specifications
Understand the process of digitizing media, making copies and moving media
Have advanced IT skills
Have effective team working skills
Have excellent communication skills
Have a high level of organizational skills
Have good attention to detail
Be able to use your initiative
Have good problem-solving skills
Be diplomatic and sensitive when working with clients
Understand the relevant health and safety laws and procedures
Have you thought about what it takes to be an Audio/Dubbing Assistant? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about Video Tape Operator according to Creative skillset.
http://creativeskillset.org/creative_industries/film/job_roles/3855_video_tape_vt_operators
VT Operators are sometimes called CAR Operators, Technical Runners or Tape Operators. They work in and manage the machine room and operate tape recording equipment. They make sure that the contents of tapes meet the correct technical specifications. They prepare VT machines for use by clients and Editors. They may also have to set up Avid and other editing equipment.
They make tape copies in different formats, labelling them label tapes accurately. Every frame of each project has to be labelled, using roll numbers and time-codes according to industry practice.
VT operators move media and machines around the building. They auto conform media, and may digitize media for use on Avid and other equipment. They are responsible for quality control of output media, and for quality assessment reports. They deal with conversions, digitization, transfers, and duplication of video and audio materials. They operate, patch and un-patch equipment. They manage equipment and identify faults.
Larger facilities of 50 or more staff employ a number of VT Operators, with varying degrees of experience. In smaller companies, the VT department also manages the Library system and database. In some cases, Edit Assistants’ and VT Operators’ roles may be combined.
Have you thought about what it takes to be a Video Tape Operator? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about ADR Editor / Dialogue Editor according to Creative skillset.
The ADR Editor and the Dialogue Editor are usually two different technicians on big budget films. On some very big films, there may even be one ADR and one Dialogue Editor for every reel of the film. On medium to low budget films, these two roles are usually carried out by the same person.
Dialogue Editors start work on a film well into the picture editing process. They attend a spotting session with the other Sound Editors to discuss and note all sound issues. All the lines of dialogue are carefully scrutinized for problems. These might be technical, such as the sound of traffic over an actor’s line, or performance-related. In some cases, an actor might mispronounce a word or be inconsistent with an accent.
ADR/Dialogue Editors review the original sound files to check whether these problem sections can be replaced. Using an editing software program, ADR/Dialogue Editors cut between a number of takes (sometimes even using different syllables from each take) to create clean, crisp lines of dialogue. If this is not possible, Automated Dialogue Replacement is used.
During ADR sessions, actors watch themselves on screen, and re-voice as accurately as possible. They have to make sure that their lines are synchronized with the pictures (lip-sync), and that their performance matches the original. Actors may also have to record new lines for off-camera dialogue to help make difficult scenes work. During ADR sessions, ADR/Dialogue Editors have to make quick, accurate decisions about whether the performance is good enough.
These sessions are extremely expensive and difficult to co-ordinate because of actors’ limited availability. Sometimes these are done remotely. However, for large amounts of dialogue re-recording, experienced ADR Mixers are hired to work closely with the actor(s) in situ.
After the newly recorded ADR has been edited into the original dialogue track, ADR/Dialogue Editors work on the background or ambient sound. They have to match this up using frames or fractions of frames from other sound takes. During the Pre-Mix (the first dubbing session), all the dialogue and ADR is smoothed out (cross faded), and any mistakes are corrected. This is usually the end of most ADR/Dialogue Editors’ work, although on big budget films, they may be involved until after the Final Mix.
ADR/Dialogue Editors may be freelance, or they may be employed by an Audio Post Production House. They work long hours.
You will need a degree in Arts, Music, Electronics, Math’s, or Sound Technology. You will also benefit from a postgraduate qualification in music. You can also take HND qualifications.
If you are considering taking a film production course in higher education, the following courses have been rigorously assessed by the film industry and awarded the Creative Skillset Tick for the high standard of education they provide and the degree to which they prepare you for a career in film:
Have you thought about what it takes to be a Dialogue Editor? Please share your comments with me and others because I have more to share tomorrow.
Good evening everyone, today I am coming to talk to you about Broadcast Engineer according to Creative skill set.
http://creativeskillset.org/creative_industries/tv/job_roles/4233_broadcast_engineer
A Broadcast Engineer works to provide picture and sound coverage of an event, either on location or in a studio. Typically, this work can include sports, music or news programs. A Broadcast Engineer will be responsible for setting up the equipment needed for transmission, as well as monitoring during production. In some circumstances, Broadcast Engineers will also be required to edit the footage on the fly, switching between cameras and adding on-screen graphics.
If on location, they would work from within an outside broadcast truck, giving them the same equipment they’d find in a television studio.
Setting up the broadcast systems and making sure they are transmitting correctly via the web, satellite or other link-up
Operating and maintaining the outside broadcast truck when on location
Operating, maintaining and managing studio equipment when in the studio
Operating camera, sound and lighting equipment where necessary
For this role, you will need to:
Understand radio and satellite transmission systems, how they operate and how to troubleshoot them in the field
Be comfortable in monitoring both sound and vision, ensuring that everything recorded is perfect for transmission
Have a location awareness that allows you to adapt your plans and practices when in new locations, sometimes around the world
Have great communication skills
Carry yourself in a professional manner
Be able to prepare yourself for any possible problem
Have excellent timekeeping, especially for news and sports broadcasts
Due to the specialized nature of Broadcast Engineering, a degree or qualification in the field will show you have the technical mind and knowledge of equipment to excel. Science and engineering qualifications are also looked upon favorably, as are Broadcast Engineering apprenticeships.
Have you thought about what it takes to be a screenwriter? Please share your comments with me and others because I have more to share tomorrow.