RESEARCH AND REFLECTION

Professional practice Networks 

  1. linkedin
  2. fame street
  3. Film and tv pro
  4. Shooting people
  5. Call the shots
  6. Cannes Lions
  7. Short film world
  8. Short film world
  9. ITV experience
  10. Film and Tv professionals

Joining any of these groups is a very huge step for media producers and other people looking to gain experience and this is how the future looks like. This is a very important step when it comes to developing your online presence as a professional in the media industry. I came to realise that, the advantage of employers accessing your contacts, is much easier than handing in a Cv. This saves a lot of time and the content is always available for any one to access your technicalities. Screen Shot 2015-05-20 at 17.34.56 I have joined a few of these networks and they have given me the opportunity to find numerous opportunities with in the media industry. The biggest advantage is that when you sign in onto one of these networks, every week they send you notifications about new jobs availabilities and people within the same field always share different vacancies. If you want to land hands onto some experience or even paid jobs this is a very effective way of starting and this also enables you to network and communicate to other professionals within the same field.

A contact list of potential professional for my future career.

  • Greg Cole; film producer / director with experience of at leat 20 years of experience and he work at heart break productions. Email: chmpcimp@yahoo.co.uk.
  • Jim Peakman; writer / director at blue ridge films, also work at Channel 4.Email: jim@blueridgefilmsgroup.com.
  • Steven Ringrose; He is a lead editor at blue ridge productions. Contact details: stevenringrose@blueridgefilmgroup.com.
  • Dale Driver; He is a film director at blue ridge productions. Contact details: dale driver@blueridgefilmgroup.com.
  • Laura Douglas; She is a production executive at Educare. Contact details: laura-douglas@hotmail.co.uk.
  • Gary Smith; Film producer at Winchester entertainment. Contact details: garysmith@vumanity.com
  • Amy Mills; She is a runner at MBY productions and she also works at British got talent . Contact details: amymills30@msn.com
  • Ray Grewal; Script writer / submission assessor at creative England, BBC, Chapter one promotions. Contact Details: raygrewal49@gmail.com
  • Martyn pick; He is a director at quantum films. Contact details: martynpick@hotmail.com
  • Chris Mock; He is a sound engineer and editor. Contact details: chrismock@me.com

I chose these contacts because most of these people are in the same professional positions as of my interest so i decided to go onto their blogs and websites to  get in contact with and see what they are about, how they represent them selves as professionals.

Evidence of contacts i have made:

Screen Shot 2015-05-22 at 17.18.48

Although i managed to get in contact with a few of these contacts, most of them did not reply back in time, i guess this is because of their busy schedules but here is more evidence from a few people that replied.

Screen Shot 2015-05-22 at 18.39.17

Screen Shot 2015-05-22 at 19.18.58

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364MC Professional practice porfolio

RESEARCH AND DEVELOPMENT

What is a portfolio? This is an edited collection of the best work intended to showcase an artist’s style or method of work. A portfolio is used by artists to show employers their versatility by showing different samples of current work produced.

The following are professional options open to me and skills required to inhabit the roles.

THE KEY CREATIVE TEAM

Producer

The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer is involved throughout all phases of the process from development to completion of a project.

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, 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.

Screenwriter

Screenwriters or scriptwriters are responsible for researching the story, developing the narrative, writing the screenplay, and delivering it, in the required format, to the Producers. They are almost always freelancers who either pitch original ideas to Producers in the hope that they will be optioned or sold, or who are commissioned by a Producer to create a screenplay from a concept, true story, existing screen work or literary work, such as a novel or short story.

PRODUCTION DEPARTMENT

Executive Producer

An executive producer is usually an investor in the project or someone who has facilitated the funding of the project. There may be multiple executive producers on a project, depending on the financing arrangements.

Line Producer Typically,

a line producer manages the budget of a film production. Alternatively, or in addition, they may manage the day-to-day physical aspects of the film production.

Production Manager

The production manager supervises the physical aspects of the production 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 often works under the supervision of a line producer and directly supervises the Production Coordinator.

Production Coordinator

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

Production Secretary

The Production Secretary provides administration assistance in the production office to the production co-ordinator and production manager.

Production accountant

Production accountants are responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to manage the day-today accounting office functions, and report on the project’s financial progress against the budgets (cost reporting).

Post-production Supervisor

Post-production supervisors are responsible for the postproduction 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.

First Assistant Director

The first assistant director (1st AD) assists the production manager and director. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and the set. They ensure the filming comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work.

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 works closely with the Production Coordinator to create the daily Call Sheets that let the crew know the schedule and important details about the shooting day.

Third Assistant Director

The third assistant director (3rd AD) works on set with the “First” and may liaise with the “Second” to move actors from unit base, organise crowd scenes, and supervise one or more production assistants.

Production Assistant/Production Runner

The production assistant or runner assists the first assistant director with on-set operations. PAs also assist in the production office with general tasks.

Script Supervisor

Also known as “continuity”, 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.

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.

SCRIPT DEPARTMENT

Story Producer

The story producer has overall responsibility for the story across episodes. In reality TV, the story producer is responsible for creating a story line via editing/producing the show’s source footage. They may also be responsible for writing the host’s dialogue.

Script Editor

Provides a critical overview of the screenwriting process, using their analytical skills to help the screenwriter identify problems and thereby help to strengthen and develop the screenplay.

Script Co-ordinator

The script coordinator is responsible for producing each draft of the script and annotating it for ease of use for the production team.

LOCATION DEPARTMENT

Location Manager

The location manager is responsible for finding and securing locations to be used for the production and coordinating the logistics, permits and costs involved. They are also the face of the production to the community.

Location Assistant

Assists the location manager and is on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers onto the set; maintaining the cleanliness of the location areas during filming and fielding complaints from neighbours.

Location Scout

Responsible for the initial scouting of locations for the production, taking into account production logistics, e.g. location fees and budgetary restrictions, local permitting costs and regulations, camera and lighting requirements, convenience to other locations, production services, crew and unit parking.

CAMERA DEPARTMENT

Director of Photography/Cinematographer

The director of photography is the head of the camera and lighting department of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film’s director.

Camera Operator

The camera operator operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film. Depending on the camera format being used for filming (e.g. film or digital), a director of photography may not operate the camera, but sometimes these two roles are combined.

First Assistant Camera (Focus Puller)

The first assistant camera (1st AC) is responsible for keeping the camera in focus while it is shooting.

Second Assistant Camera (Clapper Loader)

The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes. Also oversees the logbooks that record when the film stock is received, used, and sent to the lab for processing.

Loader

The loader transfers the film from the manufacturer’s light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the lab.

Camera Production Assistant

Usually a trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.

Digital Imaging Technician (DIT)

On digital productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to manipulate the resulting image.

Data Wrangler

On digital productions the data wrangler is responsible for managing the transfer of data from the camera to a computer and/or hard drive.

Steady cam Operator

The steady cam operator is someone who is skilled at operating a Steady cam (trademark for a camera stabilisation rig)

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 use.

Video Split/Assist Operator

A video split is used by directors, to watch a monitor during each take. This is captured by special recorders fitted to film cameras next to the eyepiece.

SOUND DEPARTMENT

Production Sound Mixer (Sound Recordist)

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

Boom Operator (Boom Swinger)

The boom operator is responsible for microphone placement and movement during filming. The boom operator uses a boom pole to position the microphone above or below the actors, just out of the camera’s frame.

POST PRODUCTION

Film Editor (Offline Editor for video productions)

Assembles the various shots into a coherent film, working closely with the director.

Assistant Editor

Assists the editor by collecting and organising all the elements needed for the edit.

Online Editor (for video productions)

When the offline edit is complete, adds visual effects, titles, and applies colour correction. Also ensures that the program meets the technical delivery specifications.

Colourist

Adjusts the colour of the film to achieve greater consistency. Negative Cutter Cuts and splices the film. Provides assembled negative reels to the lab for prints to be made.

VISUAL EFFECTS (VFX)

Visual Effects Supervisor

The visual effects supervisor is in charge of the visual effects department.

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 and text.

Roto/Paint Artist

Manually creates mattes for use in compositing. May also paint visual information out of a scene, such removing wires and rigs, logos and scratches.

Matte Painter

These artists draw/paint entire sets or extend portions of an existing set.

POST PRODUCTION – SOUND/MUSIC

Sound Designer

In charge of the post-production sound of a movie.

Dialogue Editor

Responsible for assembling and editing all dialogue in the soundtrack.

Sound Editor

Responsible for assembling and editing all sound effects in the soundtrack.

Re-recording Mixer

Balances the sounds prepared by the dialogue, music and effects editors.

Music Supervisor

Works with the composer, mixers and editors to create and integrate the film’s music. Negotiates licensing of the necessary rights for all source music used in a film.

Composer

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

Foley Artist

Creates and records many of the sound effects for a film.