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A$$ets Movie

Robert Hunt

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks.

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.

Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks. .

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.
Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks.

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.

Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

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A$$ets Movie

Alicia beck

According to the Casting Society of America (CSA), casting directors work directly for studios and production companies, and their agencies function like human resource departments. Casting directors typically work on a freelance basis, charging a set fee for each production in which they’re involved. They must possess strong interpersonal and communication abilities, because they work closely with producers, directors, writers, casting agents, and talent agencies. Being a casting director also requires a flexible schedule, because the job requires long hours and often frequent travel to find talent or meet with producers, directors, and other key production staff.

Casting directors read scripts and collaborate with producers, directors, and writers to create breakdown notices, which are brief descriptions of the physical attributes, skills, and experience sought in actors to portray particular characters. With the aid of casting assistants, casting directors submit these breakdown notices to agents and talent agencies. Casting directors then receive actors’ headshots and resumes, which they must sift through to select the most qualified actors and schedule them for auditions, often with the help of casting assistants.

Depending on the size and scope of a production, a casting director may hold an initial round of auditions and personally decide which actors to call back for the producer and director. After each round of auditions, the casting director becomes responsible for notifying and scheduling selected actors for additional rounds of auditions, until a final casting decision is made. Although the decision of which actors to cast is ultimately up to directors or producers, casting agents often directly influence the decision of which actor is cast for a particular role.

Formal education isn’t required to become a casting director, but experience is necessary. Many casting directors begin their careers as casting assistants to CSA casting directors, by apprenticing for casting agents or as interns for talent agencies and production companies. Individuals seeking careers as casting directors can increase their opportunities by completing bachelor’s degree programs or taking classes in theater or film production, acting, or business.

According to PayScale.com, talent directors earned a median salary of $103,277 as of October 2016. Although the U.S. Bureau of Labor Statistics (BLS, www.bls.gov) does not provide information specific to the field of casting direction, the BLS did project that the employment of producers and directors would likely grow by about 9% between 2014 and 2024, a rate that’s faster than the average predicted for all occupations.

A casting director finds the right actor for the role they’re seeking to fill, and they need strong interpersonal skills and the ability to work long hours. They primarily learn on the job as an assistant or intern, and a degree in theater, film production or business may be helpful in this field. Producers and directors, including casting directors, can expect to see a faster-than-average increase in job opportunities through 2024.

According to the Casting Society of America (CSA), casting directors work directly for studios and production companies, and their agencies function like human resource departments. Casting directors typically work on a freelance basis, charging a set fee for each production in which they’re involved. They must possess strong interpersonal and communication abilities, because they work closely with producers, directors, writers, casting agents, and talent agencies. Being a casting director also requires a flexible schedule, because the job requires long hours and often frequent travel to find talent or meet with producers, directors, and other key production staff.

Casting directors read scripts and collaborate with producers, directors, and writers to create breakdown notices, which are brief descriptions of the physical attributes, skills, and experience sought in actors to portray particular characters. With the aid of casting assistants, casting directors submit these breakdown notices to agents and talent agencies. Casting directors then receive actors’ headshots and resumes, which they must sift through to select the most qualified actors and schedule them for auditions, often with the help of casting assistants.

Depending on the size and scope of a production, a casting director may hold an initial round of auditions and personally decide which actors to call back for the producer and director. After each round of auditions, the casting director becomes responsible for notifying and scheduling selected actors for additional rounds of auditions, until a final casting decision is made. Although the decision of which actors to cast is ultimately up to directors or producers, casting agents often directly influence the decision of which actor is cast for a particular role.

Formal education isn’t required to become a casting director, but experience is necessary. Many casting directors begin their careers as casting assistants to CSA casting directors, by apprenticing for casting agents or as interns for talent agencies and production companies. Individuals seeking careers as casting directors can increase their opportunities by completing bachelor’s degree programs or taking classes in theater or film production, acting, or business.

According to PayScale.com, talent directors earned a median salary of $103,277 as of October 2016. Although the U.S. Bureau of Labor Statistics (BLS, www.bls.gov) does not provide information specific to the field of casting direction, the BLS did project that the employment of producers and directors would likely grow by about 9% between 2014 and 2024, a rate that’s faster than the average predicted for all occupations.

A casting director finds the right actor for the role they’re seeking to fill, and they need strong interpersonal skills and the ability to work long hours. They primarily learn on the job as an assistant or intern, and a degree in theater, film production or business may be helpful in this field. Producers and directors, including casting directors, can expect to see a faster-than-average increase in job opportunities through 2024.

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A$$ets Movie

Camera Operator

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

For those who want to be in charge while creating television shows, movies or live theater, working as a producer or director might be appealing. Most of these professionals have bachelor’s degrees and work experience in acting or writing. In 2014, the BLS projected an 9% increase in jobs through 2024, which was faster than the average for all occupations at that time. Producers and directors earned a median annual salary of $68,440 in 2015, according to the BLS.

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

For those who want to be in charge while creating television shows, movies or live theater, working as a producer or director might be appealing. Most of these professionals have bachelor’s degrees and work experience in acting or writing. In 2014, the BLS projected an 9% increase in jobs through 2024, which was faster than the average for all occupations at that time. Producers and directors earned a median annual salary of $68,440 in 2015, according to the BLS.

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

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A$$ets Movie

Film Producer- Dawn Carter

Carter is the Consulting Producer on “SUPREMACY” starring Danny Glover. In 2011, Carter created, directed, and produced “A REAL BLACK HORROR” (the short.) 2010, under the banner of her production company, DONLYN PRODUCTIONS, InNC,. Carter created and sold a television pilot to BET, called “LOVE BROOKLYN”. Carter also made her directorial debut in 2009 with the short film “MY GENIE,” and produced the independent feature, “CONTRADICTIONS OF THE HEART.” Carter served as an Associate Producer on “THE FUNNY SPOT,” starring Tony Rock, and “SOULMATE,” an award-winning documentary. DONLYN PRODUCTIONS has also produced several Public Service Announcements for The Magic Johnson Foundation’s annual fundraising event “Midsummer Night’s Magic,” and the National PSA “African American Jockeys,” for Black History Month. With the FOX Diversity department, Carter created “The Fox Journey to Excellence Mentoring Program,” an on-going monthly education program, which helps foster academic, social and personal development for economically disadvantaged and high-risk students by introducing them to leaders in various fields of interest.
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A$$ets Movie

Sound Designer

Aspiring sound designers can develop the necessary skills and experience by earning a postsecondary non-degree award or certificate. However education options range from 1-year diploma programs to bachelor’s and master’s degrees in sound design. Art schools, film schools and universities offer programs in the industry. Good schools provide up-to-date training in well-equipped sound studios.

Students take courses in sound mixing, sound editing and recording techniques. They learn about Musical Instrument Digital Interface (MIDI), as well as how to use Pro Tools, Final Cut Pro and other industry-related software. Programs that focus on theatrical sound design may also require introductory classes in set, costume and lighting design.

Sound designers are responsible for the overall sound for a production. They create sound effects and edit musical scores. In the post-production stage of a soundtrack, they may add or remove ambient noise. Video game sound effects can greatly enhance the realism and excitement of the medium.

Sound designers mainly work in a sound studio, either their own or that of a production company. In the studio, they may create sounds digitally, using computers and technical software, or naturally, using physical objects and props. Designers who create sounds naturally are sometimes called Foley artists.

High levels of creativity and skill are involved in determining how best to create a sound effect. After dissecting the required effect, they use real-world sounds to improvise each component. Some designers work in the field to record natural sounds to be used for a soundtrack. From these recordings, they compile a sound library to be used for future work. Designers also use sound libraries of recordings available from other sources, such as universities, or purchase them from third parties.

Sound design is a very specialized field that combines technical skill and creative ability. Because of the appeal of the entertainment industry, competition is high, especially in metropolitan areas, for relatively few positions.

According to the U.S. Bureau of Labor Statistics (BLS), sound engineering technicians were expected to see an eight percent increase in employment from 2014-2024, which is categorized as average overall. As of May 2015, the BLS reported that sound engineering technicians earned a median annual salary of $53,330.

In addition to a degree or certificate/award, a sound designer should have strong technical skills and high creativity. These tools will prepare them to work in a variety of industries, including video game design, music, TV, and movies.

Aspiring sound designers can develop the necessary skills and experience by earning a postsecondary non-degree award or certificate. However education options range from 1-year diploma programs to bachelor’s and master’s degrees in sound design. Art schools, film schools and universities offer programs in the industry. Good schools provide up-to-date training in well-equipped sound studios.

Students take courses in sound mixing, sound editing and recording techniques. They learn about Musical Instrument Digital Interface (MIDI), as well as how to use Pro Tools, Final Cut Pro and other industry-related software. Programs that focus on theatrical sound design may also require introductory classes in set, costume and lighting design.

Sound designers are responsible for the overall sound for a production. They create sound effects and edit musical scores. In the post-production stage of a soundtrack, they may add or remove ambient noise. Video game sound effects can greatly enhance the realism and excitement of the medium.

Sound designers mainly work in a sound studio, either their own or that of a production company. In the studio, they may create sounds digitally, using computers and technical software, or naturally, using physical objects and props. Designers who create sounds naturally are sometimes called Foley artists.

High levels of creativity and skill are involved in determining how best to create a sound effect. After dissecting the required effect, they use real-world sounds to improvise each component. Some designers work in the field to record natural sounds to be used for a soundtrack. From these recordings, they compile a sound library to be used for future work. Designers also use sound libraries of recordings available from other sources, such as universities, or purchase them from third parties.

Sound design is a very specialized field that combines technical skill and creative ability. Because of the appeal of the entertainment industry, competition is high, especially in metropolitan areas, for relatively few positions.

According to the U.S. Bureau of Labor Statistics (BLS), sound engineering technicians were expected to see an eight percent increase in employment from 2014-2024, which is categorized as average overall. As of May 2015, the BLS reported that sound engineering technicians earned a median annual salary of $53,330.

In addition to a degree or certificate/award, a sound designer should have strong technical skills and high creativity. These tools will prepare them to work in a variety of industries, including video game design, music, TV, and movies.

Aspiring sound designers can develop the necessary skills and experience by earning a postsecondary non-degree award or certificate. However education options range from 1-year diploma programs to bachelor’s and master’s degrees in sound design. Art schools, film schools and universities offer programs in the industry. Good schools provide up-to-date training in well-equipped sound studios.

Students take courses in sound mixing, sound editing and recording techniques. They learn about Musical Instrument Digital Interface (MIDI), as well as how to use Pro Tools, Final Cut Pro and other industry-related software. Programs that focus on theatrical sound design may also require introductory classes in set, costume and lighting design.

Sound designers are responsible for the overall sound for a production. They create sound effects and edit musical scores. In the post-production stage of a soundtrack, they may add or remove ambient noise. Video game sound effects can greatly enhance the realism and excitement of the medium.

Sound designers mainly work in a sound studio, either their own or that of a production company. In the studio, they may create sounds digitally, using computers and technical software, or naturally, using physical objects and props. Designers who create sounds naturally are sometimes called Foley artists.

High levels of creativity and skill are involved in determining how best to create a sound effect. After dissecting the required effect, they use real-world sounds to improvise each component. Some designers work in the field to record natural sounds to be used for a soundtrack. From these recordings, they compile a sound library to be used for future work. Designers also use sound libraries of recordings available from other sources, such as universities, or purchase them from third parties.

Sound design is a very specialized field that combines technical skill and creative ability. Because of the appeal of the entertainment industry, competition is high, especially in metropolitan areas, for relatively few positions.

According to the U.S. Bureau of Labor Statistics (BLS), sound engineering technicians were expected to see an eight percent increase in employment from 2014-2024, which is categorized as average overall. As of May 2015, the BLS reported that sound engineering technicians earned a median annual salary of $53,330.

In addition to a degree or certificate/award, a sound designer should have strong technical skills and high creativity. These tools will prepare them to work in a variety of industries, including video game design, music, TV, and movies.

Aspiring sound designers can develop the necessary skills and experience by earning a postsecondary non-degree award or certificate. However education options range from 1-year diploma programs to bachelor’s and master’s degrees in sound design. Art schools, film schools and universities offer programs in the industry. Good schools provide up-to-date training in well-equipped sound studios.

Students take courses in sound mixing, sound editing and recording techniques. They learn about Musical Instrument Digital Interface (MIDI), as well as how to use Pro Tools, Final Cut Pro and other industry-related software. Programs that focus on theatrical sound design may also require introductory classes in set, costume and lighting design.

Sound designers are responsible for the overall sound for a production. They create sound effects and edit musical scores. In the post-production stage of a soundtrack, they may add or remove ambient noise. Video game sound effects can greatly enhance the realism and excitement of the medium.

Sound designers mainly work in a sound studio, either their own or that of a production company. In the studio, they may create sounds digitally, using computers and technical software, or naturally, using physical objects and props. Designers who create sounds naturally are sometimes called Foley artists.

High levels of creativity and skill are involved in determining how best to create a sound effect. After dissecting the required effect, they use real-world sounds to improvise each component. Some designers work in the field to record natural sounds to be used for a soundtrack. From these recordings, they compile a sound library to be used for future work. Designers also use sound libraries of recordings available from other sources, such as universities, or purchase them from third parties.

Sound design is a very specialized field that combines technical skill and creative ability. Because of the appeal of the entertainment industry, competition is high, especially in metropolitan areas, for relatively few positions.

According to the U.S. Bureau of Labor Statistics (BLS), sound engineering technicians were expected to see an eight percent increase in employment from 2014-2024, which is categorized as average overall. As of May 2015, the BLS reported that sound engineering technicians earned a median annual salary of $53,330.

In addition to a degree or certificate/award, a sound designer should have strong technical skills and high creativity. These tools will prepare them to work in a variety of industries, including video game design, music, TV, and movies.

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A$$ets Movie

Actor

Actors depict characters in stories using their voices, appearances, bodies and gestures. They can work in movies, television, commercials, theater, theme parks and clubs. While working as an actor, they perform for entertainment and informational purposes. Actors can play main characters or supporting roles, and they must audition for casting directors to land a part.

After securing a role, the actor studies the script to learn about the character and memorize the speaking parts. Sometimes scripts change during rehearsals, and actors may find themselves memorizing new lines. Some parts may require actors to sing, dance or perform stunts.

Actors work under the director who advises them on how to portray the characters. To bring the character to life, actors change their voices, dialects, facial expressions and other traits. In addition to wearing costumes, actors use props, which they must learn to use appropriately.

Actors rehearse often, especially for live events where there is little room for error. Long and variable working hours are sometimes required, as well as travel. Actors sometimes have to endure unpleasant working conditions, such as bad weather, harsh stage lights, heavy costuming and little preparation time.

The U.S. Bureau of Labor Statistics reported that the national mean hourly income for actors as of May 2015 was $37.47. However, work isn’t always steady, and some actors have second jobs to supplement their income. Additionally, actors’ salaries are not created equal. The highest-paid and most successful actors make significantly more than most actors.

Unionized actors belong to organizations that negotiate minimum wages for actors. The Screen Actors Guild (SAG) represents actors working in film, television, commercials and other media forms. SAG members meet certain eligibility requirements and pay an initiation fee and monthly dues in exchange for collective bargaining and residual payment on qualifying work. SAG members can also take advantage of benefits like contributions to health and retirement plans, professional workshops and job opportunities.

Live theater actors can join the Actor’s Equity Association (AEA) to receive unionized collective bargaining benefits. AEA also provides its members with other benefits, such as tax assistance, discounts and employer-paid health insurance.

Actors portray characters on film or in plays. From 2014 to 2024 actors can expect a 10% rate of job growth, which is faster than average when compared to all occupations. Aspiring actors can consider formal training in theater arts to help develop their skills.

Actors depict characters in stories using their voices, appearances, bodies and gestures. They can work in movies, television, commercials, theater, theme parks and clubs. While working as an actor, they perform for entertainment and informational purposes. Actors can play main characters or supporting roles, and they must audition for casting directors to land a part.

After securing a role, the actor studies the script to learn about the character and memorize the speaking parts. Sometimes scripts change during rehearsals, and actors may find themselves memorizing new lines. Some parts may require actors to sing, dance or perform stunts.

Actors work under the director who advises them on how to portray the characters. To bring the character to life, actors change their voices, dialects, facial expressions and other traits. In addition to wearing costumes, actors use props, which they must learn to use appropriately.

Actors rehearse often, especially for live events where there is little room for error. Long and variable working hours are sometimes required, as well as travel. Actors sometimes have to endure unpleasant working conditions, such as bad weather, harsh stage lights, heavy costuming and little preparation time.

The U.S. Bureau of Labor Statistics reported that the national mean hourly income for actors as of May 2015 was $37.47. However, work isn’t always steady, and some actors have second jobs to supplement their income. Additionally, actors’ salaries are not created equal. The highest-paid and most successful actors make significantly more than most actors.

Unionized actors belong to organizations that negotiate minimum wages for actors. The Screen Actors Guild (SAG) represents actors working in film, television, commercials and other media forms. SAG members meet certain eligibility requirements and pay an initiation fee and monthly dues in exchange for collective bargaining and residual payment on qualifying work. SAG members can also take advantage of benefits like contributions to health and retirement plans, professional workshops and job opportunities.

Live theater actors can join the Actor’s Equity Association (AEA) to receive unionized collective bargaining benefits. AEA also provides its members with other benefits, such as tax assistance, discounts and employer-paid health insurance.

Actors portray characters on film or in plays. From 2014 to 2024 actors can expect a 10% rate of job growth, which is faster than average when compared to all occupations. Aspiring actors can consider formal training in theater arts to help develop their skills.

Actors depict characters in stories using their voices, appearances, bodies and gestures. They can work in movies, television, commercials, theater, theme parks and clubs. While working as an actor, they perform for entertainment and informational purposes. Actors can play main characters or supporting roles, and they must audition for casting directors to land a part.

After securing a role, the actor studies the script to learn about the character and memorize the speaking parts. Sometimes scripts change during rehearsals, and actors may find themselves memorizing new lines. Some parts may require actors to sing, dance or perform stunts.

Actors work under the director who advises them on how to portray the characters. To bring the character to life, actors change their voices, dialects, facial expressions and other traits. In addition to wearing costumes, actors use props, which they must learn to use appropriately.

Actors rehearse often, especially for live events where there is little room for error. Long and variable working hours are sometimes required, as well as travel. Actors sometimes have to endure unpleasant working conditions, such as bad weather, harsh stage lights, heavy costuming and little preparation time.

The U.S. Bureau of Labor Statistics reported that the national mean hourly income for actors as of May 2015 was $37.47. However, work isn’t always steady, and some actors have second jobs to supplement their income. Additionally, actors’ salaries are not created equal. The highest-paid and most successful actors make significantly more than most actors.

Unionized actors belong to organizations that negotiate minimum wages for actors. The Screen Actors Guild (SAG) represents actors working in film, television, commercials and other media forms. SAG members meet certain eligibility requirements and pay an initiation fee and monthly dues in exchange for collective bargaining and residual payment on qualifying work. SAG members can also take advantage of benefits like contributions to health and retirement plans, professional workshops and job opportunities.

Live theater actors can join the Actor’s Equity Association (AEA) to receive unionized collective bargaining benefits. AEA also provides its members with other benefits, such as tax assistance, discounts and employer-paid health insurance.

Actors portray characters on film or in plays. From 2014 to 2024 actors can expect a 10% rate of job growth, which is faster than average when compared to all occupations. Aspiring actors can consider formal training in theater arts to help develop their skills.

Actors depict characters in stories using their voices, appearances, bodies and gestures. They can work in movies, television, commercials, theater, theme parks and clubs. While working as an actor, they perform for entertainment and informational purposes. Actors can play main characters or supporting roles, and they must audition for casting directors to land a part.

After securing a role, the actor studies the script to learn about the character and memorize the speaking parts. Sometimes scripts change during rehearsals, and actors may find themselves memorizing new lines. Some parts may require actors to sing, dance or perform stunts.

Actors work under the director who advises them on how to portray the characters. To bring the character to life, actors change their voices, dialects, facial expressions and other traits. In addition to wearing costumes, actors use props, which they must learn to use appropriately.

Actors rehearse often, especially for live events where there is little room for error. Long and variable working hours are sometimes required, as well as travel. Actors sometimes have to endure unpleasant working conditions, such as bad weather, harsh stage lights, heavy costuming and little preparation time.

The U.S. Bureau of Labor Statistics reported that the national mean hourly income for actors as of May 2015 was $37.47. However, work isn’t always steady, and some actors have second jobs to supplement their income. Additionally, actors’ salaries are not created equal. The highest-paid and most successful actors make significantly more than most actors.

Unionized actors belong to organizations that negotiate minimum wages for actors. The Screen Actors Guild (SAG) represents actors working in film, television, commercials and other media forms. SAG members meet certain eligibility requirements and pay an initiation fee and monthly dues in exchange for collective bargaining and residual payment on qualifying work. SAG members can also take advantage of benefits like contributions to health and retirement plans, professional workshops and job opportunities.

Live theater actors can join the Actor’s Equity Association (AEA) to receive unionized collective bargaining benefits. AEA also provides its members with other benefits, such as tax assistance, discounts and employer-paid health insurance.

Actors portray characters on film or in plays. From 2014 to 2024 actors can expect a 10% rate of job growth, which is faster than average when compared to all occupations. Aspiring actors can consider formal training in theater arts to help develop their skills.

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A$$ets Movie

Sean Lopez

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks. .

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.

Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks.

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.

Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

I never intended to get into film editing. Four years ago, I was interested in graphic design and traditional animation. One day, I was asked to make a short animated film and it was during the process of doing that when I first discovered editing. As an editor, it’s my job to help directors realize their creative vision. I’m also able to put my own ideas into the film, helping shape the story and the pace of a film.

In some cases, I start editing to sound effects and music tracks, for instance, in the “Telling Lies” project, I cut shots to the rhythm of music, allowing music to provide formal and rhythmic continuity between shots. However, this concept isn’t suitable for every film; the typical starting point in understanding the pace of a film is working alongside the sound production team in order to sync the tracks.

A number of things need to be done at the beginning of a film edit. “Syncing up” is a first step in the process because the shots are often taken separately from the sound. Editing without sound is a learned skill – especially when there is no dialogue – which requires matching sound with the filmed image, choosing the desired takes and putting it all together.

Choosing what frame(s) to use at a particular point in the film is an important element of pace-timing. During the first cut, I consider questions such as: where in a sequence should a particular cutaway or close-up be positioned for a maximum impact? In “working with acting projects, there are a lot of interactions between two main characters.” (Kate and Ray). First, I cut scenes, taking out redundant pauses of actors for “brew” dialogue. Each editor should learn to distinguish performances from error (dead space) and it’s not as simple as following the action to its conclusion. It’s much more complex. When cutting into the performance, I pay attention to the sequence, being careful not to break the rhythm established by the characters in the scene.

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A$$ets Movie

Brian Foster

According to the Casting Society of America (CSA), casting directors work directly for studios and production companies, and their agencies function like human resource departments. Casting directors typically work on a freelance basis, charging a set fee for each production in which they’re involved. They must possess strong interpersonal and communication abilities, because they work closely with producers, directors, writers, casting agents, and talent agencies. Being a casting director also requires a flexible schedule, because the job requires long hours and often frequent travel to find talent or meet with producers, directors, and other key production staff.

Casting directors read scripts and collaborate with producers, directors, and writers to create breakdown notices, which are brief descriptions of the physical attributes, skills, and experience sought in actors to portray particular characters. With the aid of casting assistants, casting directors submit these breakdown notices to agents and talent agencies. Casting directors then receive actors’ headshots and resumes, which they must sift through to select the most qualified actors and schedule them for auditions, often with the help of casting assistants.

Depending on the size and scope of a production, a casting director may hold an initial round of auditions and personally decide which actors to call back for the producer and director. After each round of auditions, the casting director becomes responsible for notifying and scheduling selected actors for additional rounds of auditions, until a final casting decision is made. Although the decision of which actors to cast is ultimately up to directors or producers, casting agents often directly influence the decision of which actor is cast for a particular role.

Formal education isn’t required to become a casting director, but experience is necessary. Many casting directors begin their careers as casting assistants to CSA casting directors, by apprenticing for casting agents or as interns for talent agencies and production companies. Individuals seeking careers as casting directors can increase their opportunities by completing bachelor’s degree programs or taking classes in theater or film production, acting, or business.

According to PayScale.com, talent directors earned a median salary of $103,277 as of October 2016. Although the U.S. Bureau of Labor Statistics (BLS, www.bls.gov) does not provide information specific to the field of casting direction, the BLS did project that the employment of producers and directors would likely grow by about 9% between 2014 and 2024, a rate that’s faster than the average predicted for all occupations.

A casting director finds the right actor for the role they’re seeking to fill, and they need strong interpersonal skills and the ability to work long hours. They primarily learn on the job as an assistant or intern, and a degree in theater, film production or business may be helpful in this field. Producers and directors, including casting directors, can expect to see a faster-than-average increase in job opportunities through 2024.

According to the Casting Society of America (CSA), casting directors work directly for studios and production companies, and their agencies function like human resource departments. Casting directors typically work on a freelance basis, charging a set fee for each production in which they’re involved. They must possess strong interpersonal and communication abilities, because they work closely with producers, directors, writers, casting agents, and talent agencies. Being a casting director also requires a flexible schedule, because the job requires long hours and often frequent travel to find talent or meet with producers, directors, and other key production staff.

Casting directors read scripts and collaborate with producers, directors, and writers to create breakdown notices, which are brief descriptions of the physical attributes, skills, and experience sought in actors to portray particular characters. With the aid of casting assistants, casting directors submit these breakdown notices to agents and talent agencies. Casting directors then receive actors’ headshots and resumes, which they must sift through to select the most qualified actors and schedule them for auditions, often with the help of casting assistants.

Depending on the size and scope of a production, a casting director may hold an initial round of auditions and personally decide which actors to call back for the producer and director. After each round of auditions, the casting director becomes responsible for notifying and scheduling selected actors for additional rounds of auditions, until a final casting decision is made. Although the decision of which actors to cast is ultimately up to directors or producers, casting agents often directly influence the decision of which actor is cast for a particular role.

Formal education isn’t required to become a casting director, but experience is necessary. Many casting directors begin their careers as casting assistants to CSA casting directors, by apprenticing for casting agents or as interns for talent agencies and production companies. Individuals seeking careers as casting directors can increase their opportunities by completing bachelor’s degree programs or taking classes in theater or film production, acting, or business.

According to PayScale.com, talent directors earned a median salary of $103,277 as of October 2016. Although the U.S. Bureau of Labor Statistics (BLS, www.bls.gov) does not provide information specific to the field of casting direction, the BLS did project that the employment of producers and directors would likely grow by about 9% between 2014 and 2024, a rate that’s faster than the average predicted for all occupations.

A casting director finds the right actor for the role they’re seeking to fill, and they need strong interpersonal skills and the ability to work long hours. They primarily learn on the job as an assistant or intern, and a degree in theater, film production or business may be helpful in this field. Producers and directors, including casting directors, can expect to see a faster-than-average increase in job opportunities through 2024.

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A$$ets Movie

Jessie Clarke

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

For those who want to be in charge while creating television shows, movies or live theater, working as a producer or director might be appealing. Most of these professionals have bachelor’s degrees and work experience in acting or writing. In 2014, the BLS projected an 9% increase in jobs through 2024, which was faster than the average for all occupations at that time. Producers and directors earned a median annual salary of $68,440 in 2015, according to the BLS.

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

For those who want to be in charge while creating television shows, movies or live theater, working as a producer or director might be appealing. Most of these professionals have bachelor’s degrees and work experience in acting or writing. In 2014, the BLS projected an 9% increase in jobs through 2024, which was faster than the average for all occupations at that time. Producers and directors earned a median annual salary of $68,440 in 2015, according to the BLS.

According to the U.S. Bureau of Labor Statistics, camera operators usually hold a bachelor’s degree in film or a similar field. Courses in these programs typically go over the equipment, shooting techniques and the general processes of film shooting. Aspiring camera operators could also go to film school to learn about the artistic or creative aspects of cinematography. In addition, some colleges and universities offer cinematography certificates.

Camera operators require excellent hand-eye coordination combined with an artistic flair to obtain the shots each unique scene demands. Remaining patient and having the endurance to work on a set for long periods of time is a talent that continues to develop over time for camera operators as projects often require long hours of hard work to create the final, perfect product.

According to the U.S. Bureau of Labor Statistics (BLS), the median yearly salary of camera operators was $49,080 in 2015. Camera operators are expected to see little growth in the job market from 2014-2024, per the BLS. Job competition will be tough and require camera operators to go to extra lengths in order to secure employment. Cities that are big on entertainment, such as L.A. and NYC, offer the most opportunities for camera operators.

Although postsecondary education isn’t required for this profession, some career hopefuls do take photography courses at colleges, vocational schools or art schools to learn the techniques for composing, creating and preserving visual images. Employment growth of an average level for all occupations, at 3%, was predicted for photographers by the BLS, from 2014-2024. In 2015, the BLS reported an annual median wage of $31,710 for these professionals.

97
A$$ets Movie

Alvin Arnold

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