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television crew
Television crew positions are derived from those of film crew, but with several differences.
項目
television crew
Television crew positions are derived from those of film crew, but with several differences.
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Television crew positions are derived from those of film crew, but with several differences.
Television crew positions are derived from those of film crew, but with several differences.
Work before shooting begins is called the pre-production stage. The crew in this stage include the casting director, costume designer, director, location manager, make-up artist, researcher, screenwriter, set designer, and television producer.
The casting director casts actors, and so is usually one of the first crew members on the project. In fact, during the initial casting call, the executive producer and casting director are often the only crew members.
The costume designer makes all the clothing and costumes worn by all the Actors on screen, as well as designing, planning, and organizing the construction of the garments down to the fabric, colours, and sizes. They greatly contribute to the appearance of the production, and set a particular mood, time, feeling, or genre. They alter the overall appearance of a project with their designs and constructions, including impacting on the style of the project, and how the audience interprets the show's characters.
The television director is usually responsible for directing the actors and other filmed aspects of a television production. The role differs from that of a film director because the major creative control usually belongs to the producer. In general, actors and other regular artists on a show are familiar enough with their roles that the director's input is confined to technical issues. The director is responsible for all creative aspects of a production. The director typically helps hire the cast (and possibly crew). The director helps decide on locations, and creates a shooting plan. During shooting, the director supervises the overall project, manages shots, and keeps the assignment on budget and schedule. Though directors hold much power, they are second in command after the producer. The producer usually hires the director (unless the director is also the producer). Some directors produce their own television programs, and, with formal approval of the funding studio, enjoy a tighter grip on what makes the final cut than Directors usually have.
The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location.
A professional make-up artist is usually a cosmetology beautician, and applies makeup to anyone who appears on screen. They concentrate on the area above the chest, the face, the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate the actor's on-screen appearance to make them look younger, older, larger, etc.
Body make-up artists concentrate on the body rather than the head. Make-up itself is substances to enhance the beauty of the human body, but can also change the appearance, disguise, or costume someone. Make-up artists, hair stylists, costume designers, and dress technicians combine their efforts to transform actors into characters, presenters, etc.
The production designer is responsible for the production's visual appearance. They design, plan, organize, and arrange set design, equipment availability, and control a production's on-screen appearance. The production designer is often called the set designer, or scenic designer. They are trained professionals, often with Master of Fine Arts (MFA) degrees in scenic design. The set designer collaborates with the theater director to create an environment for the production—and communicates details of this environment to the technical director, charge scenic artist and property master. Scenic designers create drawings and scale models of the scenery. The set designer also takes instructions from the art director to create the appearance of the stage, and design its technical assembly. The art director, who may also be the production designer, plans and oversees the formation of settings for a project. They must be well versed in art and design styles, including architecture and interior design. They also work with the Cinematographer to accomplish the precise appearance for the project.
Researchers research the project ahead of shooting time to increase truth, factual content, creative content, original ideas, background information, and sometimes performs minor searches such as flight details, location conditions, accommodation details, etc. They inform the director, producer, and writer of factual information—technical, cultural, historical, etc.—that relates to events that the production portrays.
The scenic designer collaborates with the theatre director and other members of the production design team to create an environment for the production, and then communicates details of this environment to the technical director, production manager, charge artist, and property master. Scenic designers create scale models of the scenery, artistic renderings, paint elevations, and scale construction drawings to communicate with other production staff.
In the entertainment industry, a television producer (compare to film producer) is generally in charge of, or helps coordinate, the financial, legal, administrative, technological, and business aspects of a production. In t
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Associate director (AD)
An associate director (AD) in television production is usually responsible for floor directing in the studio and ensuring that the sets, props and technical equipment are safe, ready to use and positioned correctly before filming. Associate directors are also responsible for communications with the audience and any guests, for example ensuring they are seated in good time, and assisting the Director with production. In scripted television series, an associate director occasionally serves as an episode's director, in which case someone else substitutes for the AD. Until the mid-2000s in the United States, associate directors were usually credited as technical coordinators, for most sitcoms were shot on film. Drama programs don't usually use ADs.