Do’s and Don’ts
In the era before stadiums and arenas (big or small) became multimedia entertainment complexes, fans watched the game in relative anonymity. Unless ESPN or television network cameras were on hand—and you gave the producer a good reason to train those cameras on you—the possibility of finding yourself on display and on the spot to do something clever was almost nil.
As if it isn’t tough enough not to look like an idiot when you’re singled out in front of a few friends or coworkers, the pressure to play it cool is enormous when you find yourself emblazoned on a 50×28 screen in front of 12,000 gawking spectators.
We’re living in the era of the 24-hour news cycle and, as a society, have unfortunately embraced the inaccurate idea that there are two sides to every story.
Which means these days we have a difficult time agreeing on what the meaning of is is, yet there is at least one thing that remains a universally accepted norm. When someone points a camera at your face, you smile. It’s as simple as that!
If you’re not sure what, exactly that entails, take a look at the video above and make note of the mustachioed man’s intense, unbreakable dead-eyed stare. Watch it a few times so you really get its full impact. And then never repeat it.
No Love For Speed Camera Operator Bogged In Landsdale
the speed camera being set up on Drive northbound after with the ute reportedly bogged to its diffs in the median strip. It was then reported again an hour later that the speed camera, and bogged vehicle, were still present an hour later 12.45pm.
Those who are after a good laugh should jump on the post to read the comments, as punters have a field day showing no love or compansion for the bogged operator.
Isn’t it an offense to crossover like that. Needs to be booked. Most joyful post of the day.
he karma, now that’s one bogging not too many people would volunteer to assist ? That’s a carton! Do as I say not as I do.
Job descriptions on Media Match
When characters in films run out of a burning building or simply walk across a room to open the door, they are usually moving closer or further away from the camera. This means that the focal length — the distance of the camera lens from the subject — is constantly changing. Adapting or “pulling” focus to accommodate these changes is the main responsibility of the 1st Assistant Camera (AC). 1st ACs are usually requested by the director of photography or the camera operator and work on a free
2nd Assistant Cameras (ACs) are key members of the camera crew, and are responsible for the smooth running of the entire camera department. Audiences watching a finished film are not conscious of the camera — a complex piece of machinery, powered by batteries which must be charged and reloaded. Nor are they thinking of the difficult job of anticipating when a magazine (the sealed container that feeds the unexposed film into the camera) is about to run out, and what a pressurized job it is
Performs clerical work in support of company accounts and utilizes financial management software to do so. This person must compile, analyze, reconcile, and verify financial and statistical data as well as perform related work as assigned by their superior
Automated Dialogue Replacement, also known as looping or dubbing. This is the critical process in film and TV whereby dialogue is recorded in a studio for any number of reasons: to replace existing production sound that is not usable either for technical considerations (usually due to a noisy location) or editorial ones (lines of dialogue have been changed); to add a voice-over to a film (often planned from the outset, but occasionally added at the last moment to help clarify a hazy plot)
Camera Pilots fly the aircraft that carries the aerial camera crew (aerial director of photography (DoP) and aerial camera assistant). Together they shoot the aerial sequences that form part of the finished feature film. Camera Pilots are also responsible for flying any aircraft, including helicopters, planes, hot air balloons, etc., that appear as action props in finished films. This may involve performing difficult stunts requiring a high degree of expertise and experience
The Roles and Hierarchy of a Video Production Team
When working on any video production, it’s important to know the roles and hierarchy of the team. This way you know who to approach with questions and which person leads what department. There’s somewhat of a standard to this, but each crew operates a little differently. This post shows the typical hierarchy for video production, following the structure we typically use at 522 Productions.
Things to Note
Depending on the type of project and budget, this may change a little… or drastically. For example, it’s not uncommon for the Director of Photography (DP)/Cinematographer to also serve as a camera operator and lighting director. This is not the ideal situation, because of the additional responsibilities placed on smaller crews, but this often becomes reality with budget constraints.
The producer is the initial contact for the project. They talk with the client to arrange the high-level goals and expectations. It’s their responsibility to assemble the production team. The director typically comes first. From there, they put together the necessary crew members. The producer usually stays involved throughout the project lifecycle: pre-production, production and post-production.
The director is typically the most involved person on and off set. They assist with assembling the right crew to get the job done. They make adjustments to the script to keep the video on budget and on time. They oversee all parts of the production. Questions get funneled up to them.
First Assistant Director (1st AD)
The 1st AD is mainly responsible for scheduling on set. He wrangles talent, keeps the crew on time, and assists the director and producer. In some cases, the 1st AD also checks off the shot list, assuring lines are read as intended and the correct props are in the proper place.
What Do All The AV Labor Positions Do
There are SO many AV labor positions. They can be confusing when you are reading your AV quote. Technical director? Production assistant? What do they all do? Do you need them all at your event? will be discussing the major AV Labor positions, what the positions do and how they relate to your event. This is a GREAT crash course on AV labor positions and what you need to know for your event, you must watch below! Let’s jump in.
Video Transcript – What Do All the AV Labor Positions Do
So my goal in today is to talk to you about all of the positions you could potentially see on a quote and how they might help you bring your vision to life. So as we go through this, the big thing is to know that you’re not going to have all of these positions at every single one of your events. You might only have one of them. You might have a handful of them. The important thing is to know what they do and if you do need them, to request them from your AV company. But a lot of times, this comes from the AV company and them saying what they need. So as we jump into this, keep that in mind that this wildly varies from event to event and what your needs are and also what the AV company needs to create what you need and produce the event. So are you guys ready? This is gonna be a long one, so strap yourself in, and we’re gonna drop a lot of knowledge bombs and a lot of information all in one video.
So let’s start off with probably the largest and most expensive role when it comes to your event, and that is the producer role. You might not see this unless you are doing a very large general session, a very theatrical event, or if you are needing someone to help you generally with the vision of what you’re trying to accomplish. The producer is very much in charge of the content and the overall vision of the event. They’re usually also managing everybody below them. Up here and below, when we start getting into these clouds, they’re high up there, so a lot of them are kind of more of a managerial role. They’re managing everything, a lot of different details. So the producer, though, is really much in charge of the vision. They’re usually the ones working with the talent. They’re working with scriptwriting. They’re working with the technical director to essentially try to figure out how can they take your complex vision or something you’re trying to do and bring it 100% to life from a creative standpoint. So you’ll see this with a lot of event production companies. You’ll see this with a lot of entertainment companies and a lot of, again, bigger general sessions, bigger theatrical events.
Next up you have the assistant producer. Essentially, this person assists the producer, also known as an AP sometimes, to essentially bring it. They might be getting their hands a little bit more dirty, getting into the weeds, really working with the technical side. Maybe they’re working on graphics. Maybe they’re working on scriptwriting, everything like that, getting a little bit more in the nitty-gritty when it comes to everything. Again, a lot of times when you see things like assistant or, you know, number two next to them or things like that, they assist the person above them. So assistant producer assists, obviously, the producer themselves. Kinda obvious, right?
All right, next up you have, related to content, is the stage manager. Another title of this might also show up on the quotes is called a show caller as well. I’m gonna probably get some flack in the comments, because it’s all, how everyone describes everything is a little bit different between AV companies, regions, countries, everything like that. But essentially, the stage manager itself is usually someone backstage that is managing what’s going on onstage. They’re the ones pushing the talent out to make sure that they get out there in time. They’re the ones working with the final, you know, how they look, how it’s all running, everything like that backstage. Now usually they’re big on timing, making sure everything runs on schedule, obviously, and that the people are in the right places at the right time.