libdb-develop Mailing List for LibDB (Page 2)
Status: Inactive
Brought to you by:
morbus
Menu
▾
▴
libdb-develop — Developer discussions and bickerings.
You can subscribe to this list here.
| 2004 |
Jan
(48) |
Feb
(58) |
Mar
|
Apr
(1) |
May
|
Jun
|
Jul
(29) |
Aug
(36) |
Sep
(5) |
Oct
(1) |
Nov
(32) |
Dec
(1) |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2005 |
Jan
|
Feb
(4) |
Mar
|
Apr
(2) |
May
(2) |
Jun
|
Jul
|
Aug
|
Sep
|
Oct
|
Nov
|
Dec
|
| 2006 |
Jan
|
Feb
|
Mar
|
Apr
|
May
|
Jun
|
Jul
|
Aug
(3) |
Sep
|
Oct
|
Nov
|
Dec
|
|
From: Bruce D'A. <bd...@fa...> - 2004-11-28 00:53:55
|
On Nov 27, 2004, at 6:47 PM, Markus Hoenicka wrote:
> Just a random example from Pubmed from our friends devoted to
> chemistry:
> Studt2004LewisAdductsoftheSide-OnEnd-OnDinitrogen-
> BridgedComplex[{(NPN)Ta}(2)(mu-H)(2)(mu-eta(1):eta(2)-
> N(2))]withAlMe(3),GaMe(3),andB(C(6)F(5))(3):
> Synthesis,Structure,andSpectroscopicProperties
>
> This may look a little contrived but this was actually the first hit
> I've got from a Pubmed query for "nitrogen". There are certainly
> limits to the usability of including the title.
Yeah, I thought of that. OTOH, you could always just grab the first
four words of a title.
Blog comments pointed out other issues, though. I really don't think
there's an ideal way; that all have compromises. Still, I wonder if a
consensus could emerge about best practical approach?
Bruce
|
|
From: Bruce D'A. <bd...@fa...> - 2004-11-27 15:43:20
|
I just posted something on my blog about citation/record ids, which is an issue that I think is going to become increasingly important. http://netapps.muohio.edu/blogs/darcusb/darcusb/archives/2004/11/27/ citation-ids Comments? Bruce |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-13 13:42:25
|
As I was thinking about handling parts again, I'm thinking maybe it should be pretty simple; that it shouldn't require anything in particular, except maybe a way to identify the part location within a larger work (page or chapter numbers, for example). Let's take an example of an episode of a TV show that is contained on a DVD (not coincidentally the same structure as a book chapter). episode is a work it is manifest (or expressed?) as: A. partOf a television show (a serial), with identifier of "broadcast date" B. partOf a DVD, with identifier of "chapter number" (and perhaps "volume number"?) While I was first thinking the linking relationship would happen strictly at the work level, I guess in this case, the idea might be to link the episode manifestation to the other two "isPartOf" containers, which are works? I really don't get SQL, but can this now be represented in the database? Put differently, notwithstanding the initial UI focus on movies, can the database now handle a journal article, complete with volume, issue and page numbers in their own fields? Bruce |
|
From: Ed S. <eh...@po...> - 2004-11-08 03:26:25
|
On Sun, Nov 07, 2004 at 08:22:04PM -0600, Terry Hancock wrote: > OTOH, the fact that a study group of *librarians* would > use terms in their database recommendations without > actually looking them up in a dictionary gives one > pause, and perhaps a little concern about adopting the > standard. Still, it does seem to be a compelling > design. > > I'm betting this was already caught by someone, but > as my only contact with FRBR was through this project, > I thought I should bring it up. Is there a more > recent/authoritative source for FRBR I should be > looking at? Not that I know of, but then again I have no idea what paper you are looking at. :-) //Ed |
|
From: Terry H. <ha...@an...> - 2004-11-08 02:17:05
|
On Friday 05 November 2004 06:05 am, Ed Summers wrote: > On Fri, Nov 05, 2004 at 03:39:27AM -0600, Terry Hancock wrote: > > I do hope that the world does not accept FRBR as a standard > > with this mistake uncorrected! :-O > > Maybe you'd be better off writing to the author. Maybe. But this is a published paper from 1998, by the "International Federation of Library Associations' Study Group on Functional Requirements for Bibliographic Records". I can't find an e-mail address for such comments and as that was 6 years ago, it's unlikely to be a live topic at the moment, even with its authors. OTOH, the fact that a study group of *librarians* would use terms in their database recommendations without actually looking them up in a dictionary gives one pause, and perhaps a little concern about adopting the standard. Still, it does seem to be a compelling design. I'm betting this was already caught by someone, but as my only contact with FRBR was through this project, I thought I should bring it up. Is there a more recent/authoritative source for FRBR I should be looking at? Cheers, Terry -- Terry Hancock ( hancock at anansispaceworks.com ) Anansi Spaceworks http://www.anansispaceworks.com |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-07 14:03:50
|
Re: the current new record UI for topics, what does the user do if what they're looking for isn't on the list? Also, are concepts/objects/events/places simply part of a larger group of "topics"? If yes, I think the UI should reflect that. I also wonder if there can't be a subtle UI hint of the fields related to the work per se, and those related to its manifestation? Title and creator strike me as particularly central. Bruce |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-05 14:02:40
|
Also, have you seen unalog? http://unalog.com/ Written in Python (using Quixote), and I have a hunch could over time be nicely integrated with a bib db solution. Bruce |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-05 13:31:20
|
On Nov 5, 2004, at 4:36 AM, Terry Hancock wrote: > I have made an attempt to read the Perl code. Well, all I > can say is, I *thought* I had learned Perl, but I seemed to > have forgotten what I learned. Your comments and program > file style are a great relief from the usual hacker fare, > though -- thank you, I really respect that! > > The code doesn't really seem to do that much though, as yet > (or I'm not looking at the right bits), and I'm wondering > what it's for in a general way. I wonder if I need to > understand it at all. Do you discuss the object-model > anywhere? Morbus switched to PHP/Drupal awhile ago, so that's outdated. See here though, where there's a page on the data model: http://www.disobey.com/noos/LibDB/ > And of course, I visualize a greater variety of items -- not > just software packages, but e-books, audio records, > slide-shows and hardware CAD drawings, etc. Some of the > layers in FRBR (such as "Manifestations") will not be > separate items in the FTP storage server, but rather > separate ways of processing and delivering the same > content. > > Will I benefit from examining your object model do you > think, or would I be better off designing code from > scratch, but sharing the SQL schema? I think this is a good idea. I posted something on this recently: http://netapps.muohio.edu/blogs/darcusb/darcusb/archives/2004/10/26/ library-applications I'm not really a programmer (am slowly learning, but it takes time, and I don't have much of it), but I've been playing a bit with a new Ruby web framework called Rails that is really nice. I want to make a call that I repeatedly make: please design whatever you do so that I (a professional scholar) can use it. That means I need to be able to store metadata on everything from legal documents to magazine articles, to books. The FRBR is designed precisely for this flexibility. Perhaps there's a way you can also collaborate on a configurable form system (say using something like YAML to specify fields and their labels; so the basic logic, not code)? I threw together a wiki page that shows what I'm thinking. http://darcusb.geo.muohio.edu:2500/dev/show/config There are other alternatives of course (such as more explicit hierarchy). Also, I want to be able to add a simple module that can format bibliographies in documents. I have an XSLT-based formatting solution I'm working on, but there still needs to be some integration with a database such that it can scan the document for citations, and insert the (XML) bib records to pass of to the XSLT processor. See here for more on some ideas for that: http://netapps.muohio.edu/blogs/darcusb/darcusb/archives/2004/10/02/ bib-formatting-as-web-service Bruce |
|
From: Terry H. <ha...@an...> - 2004-11-05 09:34:44
|
I also wanted to mention an oddity about the FRBR paper that you refered me to. There is a bizarre blunder in this paper in the (mis-)usage of the word "Equinox". Apparently the author has confused it with the word "Epoch", i.e.: "Equinox" has three meanings: 1) one of the two days of the year when the night is (nearly) the same length as the day, 2) an instant in time when the Earth's rotational pole is exactly perpendicular to the vector from the Earth's core to the Sun's core (which occurs on those days), 3) one of the two points in space where the ecliptic crosses the equator. "Epoch" is an absolute instant in time used as a reference point. Usually distinguished from "Interval", being the time between two instants, or between an instant and the epoch. I believe that "Epoch" should be substituted for the word "Equinox" throughout this paper. And I'm a little mystified that this did not get caught in peer-review of the paper. How much review has this paper seen? I do hope that the world does not accept FRBR as a standard with this mistake uncorrected! :-O Cheers, Terry -- Terry Hancock ( hancock at anansispaceworks.com ) Anansi Spaceworks http://www.anansispaceworks.com |
|
From: Terry H. <ha...@an...> - 2004-11-05 09:31:33
|
Hi Morbus (and others), We spoke earlier this year, I believe, when you just had SQL for LibDB (I think we met on Web4lib), but I forget... I suggested switching to Python rather than Perl, as you may recall, and I think we agreed that I'd probably be able to use your SQL schema work as a basis at the very least, but that I'd be on my own with the Python. ;-) Anyway, you recommended reading the FRBR paper, and I finally did. I've also downloaded version 0.0.3 of LibDB and have been looking at the code. I have made an attempt to read the Perl code. Well, all I can say is, I *thought* I had learned Perl, but I seemed to have forgotten what I learned. Your comments and program file style are a great relief from the usual hacker fare, though -- thank you, I really respect that! The code doesn't really seem to do that much though, as yet (or I'm not looking at the right bits), and I'm wondering what it's for in a general way. I wonder if I need to understand it at all. Do you discuss the object-model anywhere? I also am intrigued by the Javascript code you have for web templates -- I wonder if I can make use of that, too, provided there is enough similarity of purpose. My goal is to create a Python cataloging module to be used with Zope, which will package an object/collection-of-objects and provide FRBR-model-compliant cataloging capabilities. As a Sourceforge user, you will be familiar with the "Trove" categorization system. This is something like what I'm trying to use FRBR for (but I want to do a much better job, which I think FRBR compliance can provide). So there will be self-cataloging, done by the project owner, and then catalog searching by end-users trying to find software. I also envision a class of "librarian-users" who will have the authority to re-catalog or "flesh-out" the catalog information, providing better meta-data and "shelving" the results to make them more accessible to the end-users. And of course, I visualize a greater variety of items -- not just software packages, but e-books, audio records, slide-shows and hardware CAD drawings, etc. Some of the layers in FRBR (such as "Manifestations") will not be separate items in the FTP storage server, but rather separate ways of processing and delivering the same content. Will I benefit from examining your object model do you think, or would I be better off designing code from scratch, but sharing the SQL schema? Cheers, Terry -- Terry Hancock ( hancock at anansispaceworks.com ) Anansi Spaceworks http://www.anansispaceworks.com |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-02 12:24:36
|
With respect to names and auto-completion, how are you now planning to deal with characters internally? I ask because my primary reason for wanting auto-completion is to ensure consistency (and ease of entry) for creator/author names. I don't care about storing characters, and I wouldn't want them to show up in an auto-complete list. Bruce |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-02 12:10:09
|
How about multiple names? Bruce |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-02 11:18:29
|
On Nov 1, 2004, at 8:57 PM, Morbus Iff wrote: > One possibility that I've been thinking about a lot has been > Javascript based. A demo will best describe this (see below), but: > > * it's a text box. > * you type "S", and it'll show a list of all S's. > * you type "t", and it'll show a list of all Steven's (for example). > * you can choose one, or continue typing to add a new entry. Perfect! I think you should exploit JS where you can, and here's a perfect example. Bruce |
|
From: Uwe H. <mo...@di...> - 2004-11-02 08:38:05
|
Project: LibDB Version: cvs Component: Code Category: feature requests Priority: normal Assigned to: Anonymous Reported by: DarkAssassin Updated by: Uwe Hermann -Status: active +Status: fixed OK, sounds reasonable. Uwe Hermann Previous comments: ------------------------------------------------------------------------ October 17, 2004 - 15:21 : DarkAssassin I came across a very interesting module yesterday, LibDB (http://drupal.org/node/9427), I think it would be very useful to create a node-like module based off of this. This would be ideal for those who own movie, music, book, or catalog websites. I hope you take this into consideration. ------------------------------------------------------------------------ October 17, 2004 - 18:52 : ki...@ww... As far as I understand this is already in the works. ------------------------------------------------------------------------ November 1, 2004 - 23:44 : Uwe Hermann No reason to close this, AFAICS. ------------------------------------------------------------------------ November 2, 2004 - 00:00 : Morbus Iff My feeling (being the developer of LibDB) is that his Issue is the whole intent of the module itself, reducing his request to the equivalent of "include LibDB into core". The very nature of his request is the "problem" that the LibDB module is trying to "solve", and thus isn't an Issue, a Bug Report, a Feature Request, or anything else worth keeping open. I support the closing of this Issue. -- View: http://drupal.org/node/11656 Edit: http://drupal.org/project/comments/add/11656 |
|
From: Morbus I. <mo...@di...> - 2004-11-02 01:57:40
|
> I'd like both options I think. I was just looking at an early version > of a UI that did this. It had a list of existing names where you could > highlight one or more, and then click a "-->" button to add them. If > they weren't on the list, there was a field to add them as text. > > At least worth thinking about. I think this is one of the more > difficult aspects of designing these GUIs. One possibility that I've been thinking about a lot has been Javascript based. A demo will best describe this (see below), but: * it's a text box. * you type "S", and it'll show a list of all S's. * you type "t", and it'll show a list of all Steven's (for example). * you can choose one, or continue typing to add a new entry. * See http://farm.tucows.com/2004/08/auto-complete%20demo.html There are a few problems, naturally: * dropdown selection is only with the arrow keys. * if javascript is turned off, you're outta luck. -- Morbus Iff ( all of the above - the only checkbox worth checking ) Technical: http://www.oreillynet.com/pub/au/779 Culture: http://www.disobey.com/ and http://www.gamegrene.com/ icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
|
From: Bruce D'A. <bd...@fa...> - 2004-11-02 01:16:51
|
On Nov 1, 2004, at 8:02 PM, Morbus Iff wrote: > Alright. You're entering a new movie, ... or book, article, album ... :-) > and you've reached the part of the form where you're going to enter > cast and crew members. Assuming that you MUST manually enter the data, > do you want to type each person's name manually, or choose from a list > of existing names? And if you want to choose from a list of existing > names, how would you prefer to handle the addition of new names? I'd like both options I think. I was just looking at an early version of a UI that did this. It had a list of existing names where you could highlight one or more, and then click a "-->" button to add them. If they weren't on the list, there was a field to add them as text. At least worth thinking about. I think this is one of the more difficult aspects of designing these GUIs. Bruce |
|
From: Morbus I. <mo...@di...> - 2004-11-02 01:03:02
|
Alright. You're entering a new movie, and you've reached the part of the form where you're going to enter cast and crew members. Assuming that you MUST manually enter the data, do you want to type each person's name manually, or choose from a list of existing names? And if you want to choose from a list of existing names, how would you prefer to handle the addition of new names? The current draft UI I'm working on will have you manually typing the name (presuming that most users of LibDB will a) be importing data from existing sources, b) be a casual enough user to not *immediately* be bothered by the manual effort). -- Morbus Iff ( i still fail to see what this has to do with morocco ) Technical: http://www.oreillynet.com/pub/au/779 Culture: http://www.disobey.com/ and http://www.gamegrene.com/ icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
|
From: Morbus I. <mo...@di...> - 2004-11-01 22:00:43
|
Project: LibDB Version: cvs Component: Code Category: feature requests Priority: normal Assigned to: Anonymous Reported by: DarkAssassin Updated by: Morbus Iff Status: active My feeling (being the developer of LibDB) is that his Issue is the whole intent of the module itself, reducing his request to the equivalent of "include LibDB into core". The very nature of his request is the "problem" that the LibDB module is trying to "solve", and thus isn't an Issue, a Bug Report, a Feature Request, or anything else worth keeping open. I support the closing of this Issue. Morbus Iff Previous comments: ------------------------------------------------------------------------ October 17, 2004 - 08:21 : DarkAssassin I came across a very interesting module yesterday, LibDB (http://drupal.org/node/9427), I think it would be very useful to create a node-like module based off of this. This would be ideal for those who own movie, music, book, or catalog websites. I hope you take this into consideration. ------------------------------------------------------------------------ October 17, 2004 - 11:52 : ki...@ww... As far as I understand this is already in the works. ------------------------------------------------------------------------ November 1, 2004 - 16:44 : Uwe Hermann No reason to close this, AFAICS. -- View: http://drupal.org/node/11656 Edit: http://drupal.org/project/comments/add/11656 |
|
From: Uwe H. <mo...@di...> - 2004-11-01 21:45:04
|
Project: LibDB -Version: <none> +Version: cvs Component: Code Category: feature requests Priority: normal Assigned to: Anonymous Reported by: DarkAssassin Updated by: Uwe Hermann -Status: closed +Status: active No reason to close this, AFAICS. Uwe Hermann Previous comments: ------------------------------------------------------------------------ October 17, 2004 - 15:21 : DarkAssassin I came across a very interesting module yesterday, LibDB (http://drupal.org/node/9427), I think it would be very useful to create a node-like module based off of this. This would be ideal for those who own movie, music, book, or catalog websites. I hope you take this into consideration. ------------------------------------------------------------------------ October 17, 2004 - 18:52 : ki...@ww... As far as I understand this is already in the works. -- View: http://drupal.org/node/11656 Edit: http://drupal.org/project/comments/add/11656 |
|
From: killes <mo...@di...> - 2004-10-17 16:52:47
|
-Project: Drupal +Project: LibDB -Version: 4.4.2 +Version: cvs -Component: node system +Component: Code Category: feature requests Priority: normal Assigned to: Anonymous Reported by: DarkAssassin Updated by: ki...@ww... Status: fixed As far as I understand this is already in the works. ki...@ww... Previous comments: ------------------------------------------------------------------------ October 17, 2004 - 15:21 : DarkAssassin I came across a very interesting module yesterday, LibDB (http://drupal.org/node/9427), I think it would be very useful to create a node-like module based off of this. This would be ideal for those who own movie, music, book, or catalog websites. I hope you take this into consideration. -- View: http://drupal.org/node/11656 Edit: http://drupal.org/project/comments/add/11656 |
|
From: Morbus I. <mo...@di...> - 2004-09-20 23:28:15
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff -Status: active +Status: closed These have been committed to CVS. Closing. Morbus Iff Previous comments: ------------------------------------------------------------------------ July 21, 2004 - 19:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 22, 2004 - 19:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 22, 2004 - 19:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 22, 2004 - 19:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 12:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 12:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 12:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 12:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 12:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 12:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 12:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 13:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 23, 2004 - 21:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 25, 2004 - 17:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 08:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 24, 2004 - 17:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 13:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 25, 2004 - 14:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 25, 2004 - 14:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. ------------------------------------------------------------------------ August 28, 2004 - 19:33 : Little Nemo Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? ------------------------------------------------------------------------ September 1, 2004 - 20:17 : Little Nemo via Tippett studios: Production Accountant [1] Not quite payroll, but close. The closest "job description" I've come up with so far for payroll accountant is from Zoran: Payroll Accountant (Sunnyvale, CA) Primary Function: Perform all U.S. payroll functions at Zoran for >250 employees Work with human resources to ensure accurate upload of employee information, processing time sheet data for nonexempt employees, processing equity transactions, vacation and worker's compensation activity Work with accounting department to prepare payment/transmission of 401k, FSA, payroll taxes, and salaries, prepare entries to general ledger and ensure payroll accounts and activities are reconciled Personally work with employees to address any payroll related issues Process manual checks for terminations, retroactive adjustments and special payments Research payroll issues and prepare special reports/projects Assist with audits of 401k and financial statements on an annual basis [1] http://www.tippett.com/jobs/detail/admin_Prodaccountant.html ------------------------------------------------------------------------ September 1, 2004 - 20:28 : Little Nemo 2d artist: via Animal Logic: An Overview Compositing is a visual art form where various elements, both filmed and digitally created, are combined to produce one final image or composite. Compositing can involve putting together various elements into one finished product or may involve frame-by-frame touch up work (known as rotoscoping). This process is used in cases where wires or rigging may need to be removed or where defects have occurred in the filming process, such as neg scratches and hairs in the camera gate or dirt present in the various developing processes. In addition to the alteration and rectification of these types anomalies of the film process, 2D artists may also do some work with editing and colour grading. Generally compositing deals purely with visual images (not sound mixing or audio work) however in unusual circumstances a 2D compositor may also have to deal with these other issues, so knowledge of these processes is also necessary. ------------------------------------------------------------------------ September 1, 2004 - 20:37 : Little Nemo Here's two different looks at film insurance: via The UK Film Council: ...Film insurance is highly specialised with each production carrying different risks. The types of insurance needed and the level of premium will vary from film to film. At its most basic, your insurance should cover sickness, accident, death (of crew, cast etc.), physical loss and damage to equipment and assets, employers and public liability... Pretty standard right? Then there's this definition, via The Economist: ...A few years ago, Hollywood’s film makers thought that they had found, in insurance companies, the ideal partners to co-finance films. Insurers make a living from risk, and the industry could offer plenty of that. Insurers also faced falling premiums in their traditional insurance markets, while film makers were prepared to pay in premiums almost any sum they demanded. The big companies in the industry—American Insurance Group (AIG), Axa Reinsurance, the reinsurance arm of France’s biggest insurer, and XL Capital, based in Bermuda—duly threw themselves into insurance-backed “gap finance”. The idea seemed simple enough: insurers underwrote bank loans that formed part of a film’s financing package, guaranteeing to compensate for any shortfall between the sum insured and the money that the film made. Reinsurers, in turn, insured “direct” insurers. The rest of the finance package consisted of capital put up by studios, as well as other loans that were not insured. In the event, film-insurance deals were more favourable to Hollywood than insurance executives at first realised. The film makers enjoyed a financial safety net, thereby becoming a better bet for potential lenders. But many policies were written for one film at a time—so the risk of failure, resulting in large claims, was high. In addition, insurers often underwrote a foolishly large percentage (sometimes as much as half) of a film’s production budget. That was a disincentive for producers to watch what they spent either on the film or on themselves... Seedy no? ------------------------------------------------------------------------ September 1, 2004 - 20:58 : Little Nemo Visual Effects Producer: via Star Trek: ...Could you please describe your job? My job title is Visual Effects Producer and, unlike most people who fall into that category, I'm much more hands-on. I work with Visual Effects Supervisors Ron [B.] Moore and Mitch Suskin. I do some of the matte paintings myself and sometimes I'll design ships or work together with the [producers] supervising things on stage. I also direct second unit and design a lot of the bladed weapons. I'm kind of like a visual effects ombudsman... via The Producers Guild: For TV: VISUAL EFFECTS PRODUCER: 1. A credit of Visual Effects Producer is only applicable to a television series if each episode contains significant visual effects of substantial cost and duration (e.g., Star Trek: Voyager). 2. The Visual Effects Producer reports directly to the person(s) receiving Produced By credit. 3. The Visual Effects Producer has responsibility for the creative and business aspects of the television series in collaboration with the visual effects supervisor, director and the person(s) receiving Produced By credit. For Film: VISUAL EFFECTS PRODUCER 1.The Visual Effects Producer reports directly to the individual(s) receiving Produced By credit on the theatrical motion picture. 2.The Visual Effects Producer has responsibility for the creative and business aspects of the motion picture in collaboration with the visual effects supervisor, director and the individual(s) receiving Produced By credit. -- View: http://drupal.org/node/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-09-02 01:58:25
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active Visual Effects Producer: via Star Trek: ...Could you please describe your job? My job title is Visual Effects Producer and, unlike most people who fall into that category, I'm much more hands-on. I work with Visual Effects Supervisors Ron [B.] Moore and Mitch Suskin. I do some of the matte paintings myself and sometimes I'll design ships or work together with the [producers] supervising things on stage. I also direct second unit and design a lot of the bladed weapons. I'm kind of like a visual effects ombudsman... via The Producers Guild: For TV: VISUAL EFFECTS PRODUCER: 1. A credit of Visual Effects Producer is only applicable to a television series if each episode contains significant visual effects of substantial cost and duration (e.g., Star Trek: Voyager). 2. The Visual Effects Producer reports directly to the person(s) receiving Produced By credit. 3. The Visual Effects Producer has responsibility for the creative and business aspects of the television series in collaboration with the visual effects supervisor, director and the person(s) receiving Produced By credit. For Film: VISUAL EFFECTS PRODUCER 1.The Visual Effects Producer reports directly to the individual(s) receiving Produced By credit on the theatrical motion picture. 2.The Visual Effects Producer has responsibility for the creative and business aspects of the motion picture in collaboration with the visual effects supervisor, director and the individual(s) receiving Produced By credit. Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 26, 2004 - 00:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. ------------------------------------------------------------------------ August 29, 2004 - 05:33 : Little Nemo Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? ------------------------------------------------------------------------ September 2, 2004 - 06:17 : Little Nemo via Tippett studios: Production Accountant [1] Not quite payroll, but close. The closest "job description" I've come up with so far for payroll accountant is from Zoran: Payroll Accountant (Sunnyvale, CA) Primary Function: Perform all U.S. payroll functions at Zoran for >250 employees Work with human resources to ensure accurate upload of employee information, processing time sheet data for nonexempt employees, processing equity transactions, vacation and worker's compensation activity Work with accounting department to prepare payment/transmission of 401k, FSA, payroll taxes, and salaries, prepare entries to general ledger and ensure payroll accounts and activities are reconciled Personally work with employees to address any payroll related issues Process manual checks for terminations, retroactive adjustments and special payments Research payroll issues and prepare special reports/projects Assist with audits of 401k and financial statements on an annual basis [1] http://www.tippett.com/jobs/detail/admin_Prodaccountant.html ------------------------------------------------------------------------ September 2, 2004 - 06:28 : Little Nemo 2d artist: via Animal Logic: An Overview Compositing is a visual art form where various elements, both filmed and digitally created, are combined to produce one final image or composite. Compositing can involve putting together various elements into one finished product or may involve frame-by-frame touch up work (known as rotoscoping). This process is used in cases where wires or rigging may need to be removed or where defects have occurred in the filming process, such as neg scratches and hairs in the camera gate or dirt present in the various developing processes. In addition to the alteration and rectification of these types anomalies of the film process, 2D artists may also do some work with editing and colour grading. Generally compositing deals purely with visual images (not sound mixing or audio work) however in unusual circumstances a 2D compositor may also have to deal with these other issues, so knowledge of these processes is also necessary. ------------------------------------------------------------------------ September 2, 2004 - 06:37 : Little Nemo Here's two different looks at film insurance: via The UK Film Council: ...Film insurance is highly specialised with each production carrying different risks. The types of insurance needed and the level of premium will vary from film to film. At its most basic, your insurance should cover sickness, accident, death (of crew, cast etc.), physical loss and damage to equipment and assets, employers and public liability... Pretty standard right? Then there's this definition, via The Economist: ...A few years ago, Hollywood’s film makers thought that they had found, in insurance companies, the ideal partners to co-finance films. Insurers make a living from risk, and the industry could offer plenty of that. Insurers also faced falling premiums in their traditional insurance markets, while film makers were prepared to pay in premiums almost any sum they demanded. The big companies in the industry—American Insurance Group (AIG), Axa Reinsurance, the reinsurance arm of France’s biggest insurer, and XL Capital, based in Bermuda—duly threw themselves into insurance-backed “gap finance”. The idea seemed simple enough: insurers underwrote bank loans that formed part of a film’s financing package, guaranteeing to compensate for any shortfall between the sum insured and the money that the film made. Reinsurers, in turn, insured “direct” insurers. The rest of the finance package consisted of capital put up by studios, as well as other loans that were not insured. In the event, film-insurance deals were more favourable to Hollywood than insurance executives at first realised. The film makers enjoyed a financial safety net, thereby becoming a better bet for potential lenders. But many policies were written for one film at a time—so the risk of failure, resulting in large claims, was high. In addition, insurers often underwrote a foolishly large percentage (sometimes as much as half) of a film’s production budget. That was a disincentive for producers to watch what they spent either on the film or on themselves... Seedy no? -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-09-02 01:37:28
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active Here's two different looks at film insurance: via The UK Film Council: ...Film insurance is highly specialised with each production carrying different risks. The types of insurance needed and the level of premium will vary from film to film. At its most basic, your insurance should cover sickness, accident, death (of crew, cast etc.), physical loss and damage to equipment and assets, employers and public liability... Pretty standard right? Then there's this definition, via The Economist: ...A few years ago, Hollywood’s film makers thought that they had found, in insurance companies, the ideal partners to co-finance films. Insurers make a living from risk, and the industry could offer plenty of that. Insurers also faced falling premiums in their traditional insurance markets, while film makers were prepared to pay in premiums almost any sum they demanded. The big companies in the industry—American Insurance Group (AIG), Axa Reinsurance, the reinsurance arm of France’s biggest insurer, and XL Capital, based in Bermuda—duly threw themselves into insurance-backed “gap finance”. The idea seemed simple enough: insurers underwrote bank loans that formed part of a film’s financing package, guaranteeing to compensate for any shortfall between the sum insured and the money that the film made. Reinsurers, in turn, insured “direct” insurers. The rest of the finance package consisted of capital put up by studios, as well as other loans that were not insured. In the event, film-insurance deals were more favourable to Hollywood than insurance executives at first realised. The film makers enjoyed a financial safety net, thereby becoming a better bet for potential lenders. But many policies were written for one film at a time—so the risk of failure, resulting in large claims, was high. In addition, insurers often underwrote a foolishly large percentage (sometimes as much as half) of a film’s production budget. That was a disincentive for producers to watch what they spent either on the film or on themselves... Seedy no? Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 26, 2004 - 00:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. ------------------------------------------------------------------------ August 29, 2004 - 05:33 : Little Nemo Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? ------------------------------------------------------------------------ September 2, 2004 - 06:17 : Little Nemo via Tippett studios: Production Accountant [1] Not quite payroll, but close. The closest "job description" I've come up with so far for payroll accountant is from Zoran: Payroll Accountant (Sunnyvale, CA) Primary Function: Perform all U.S. payroll functions at Zoran for >250 employees Work with human resources to ensure accurate upload of employee information, processing time sheet data for nonexempt employees, processing equity transactions, vacation and worker's compensation activity Work with accounting department to prepare payment/transmission of 401k, FSA, payroll taxes, and salaries, prepare entries to general ledger and ensure payroll accounts and activities are reconciled Personally work with employees to address any payroll related issues Process manual checks for terminations, retroactive adjustments and special payments Research payroll issues and prepare special reports/projects Assist with audits of 401k and financial statements on an annual basis [1] http://www.tippett.com/jobs/detail/admin_Prodaccountant.html ------------------------------------------------------------------------ September 2, 2004 - 06:28 : Little Nemo 2d artist: via Animal Logic: An Overview Compositing is a visual art form where various elements, both filmed and digitally created, are combined to produce one final image or composite. Compositing can involve putting together various elements into one finished product or may involve frame-by-frame touch up work (known as rotoscoping). This process is used in cases where wires or rigging may need to be removed or where defects have occurred in the filming process, such as neg scratches and hairs in the camera gate or dirt present in the various developing processes. In addition to the alteration and rectification of these types anomalies of the film process, 2D artists may also do some work with editing and colour grading. Generally compositing deals purely with visual images (not sound mixing or audio work) however in unusual circumstances a 2D compositor may also have to deal with these other issues, so knowledge of these processes is also necessary. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-09-02 01:29:21
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 2d artist: via Animal Logic: An Overview Compositing is a visual art form where various elements, both filmed and digitally created, are combined to produce one final image or composite. Compositing can involve putting together various elements into one finished product or may involve frame-by-frame touch up work (known as rotoscoping). This process is used in cases where wires or rigging may need to be removed or where defects have occurred in the filming process, such as neg scratches and hairs in the camera gate or dirt present in the various developing processes. In addition to the alteration and rectification of these types anomalies of the film process, 2D artists may also do some work with editing and colour grading. Generally compositing deals purely with visual images (not sound mixing or audio work) however in unusual circumstances a 2D compositor may also have to deal with these other issues, so knowledge of these processes is also necessary. Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 26, 2004 - 00:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. ------------------------------------------------------------------------ August 29, 2004 - 05:33 : Little Nemo Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? ------------------------------------------------------------------------ September 2, 2004 - 06:17 : Little Nemo via Tippett studios: Production Accountant [1] Not quite payroll, but close. The closest "job description" I've come up with so far for payroll accountant is from Zoran: Payroll Accountant (Sunnyvale, CA) Primary Function: Perform all U.S. payroll functions at Zoran for >250 employees Work with human resources to ensure accurate upload of employee information, processing time sheet data for nonexempt employees, processing equity transactions, vacation and worker's compensation activity Work with accounting department to prepare payment/transmission of 401k, FSA, payroll taxes, and salaries, prepare entries to general ledger and ensure payroll accounts and activities are reconciled Personally work with employees to address any payroll related issues Process manual checks for terminations, retroactive adjustments and special payments Research payroll issues and prepare special reports/projects Assist with audits of 401k and financial statements on an annual basis [1] http://www.tippett.com/jobs/detail/admin_Prodaccountant.html -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
|
From: <mo...@di...> - 2004-09-02 01:17:27
|
Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active via Tippett studios: Production Accountant [1] Not quite payroll, but close. The closest "job description" I've come up with so far for payroll accountant is from Zoran: Payroll Accountant (Sunnyvale, CA) Primary Function: Perform all U.S. payroll functions at Zoran for >250 employees Work with human resources to ensure accurate upload of employee information, processing time sheet data for nonexempt employees, processing equity transactions, vacation and worker's compensation activity Work with accounting department to prepare payment/transmission of 401k, FSA, payroll taxes, and salaries, prepare entries to general ledger and ensure payroll accounts and activities are reconciled Personally work with employees to address any payroll related issues Process manual checks for terminations, retroactive adjustments and special payments Research payroll issues and prepare special reports/projects Assist with audits of 401k and financial statements on an annual basis [1] http://www.tippett.com/jobs/detail/admin_Prodaccountant.html Little Nemo Previous comments: ------------------------------------------------------------------------ July 22, 2004 - 05:23 : Morbus Iff The provided libdb.mysql database schema contains a number of predefined role types, mostly from the film industry. Whilst most of them contain descriptions of what they actually entail, some are still missing. Those that are missing should be completed. ------------------------------------------------------------------------ July 23, 2004 - 05:34 : Little Nemo From filmsound.org: What is Audio Post-Production? ---------------------------------------------------------------------- Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever since silent movies began to talk, filmmakers have been looking to control and improve the quality of the sound of their creation. As soon as creators realized there was a way to control and enhance the sound of their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally "live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped" and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any feature film or television show that hasn't been through audio post. What is involved in Audio Post ? ---------------------------------------------------------------------- Audio Post usually consists of several processes. Each different project may need some, or all of these processes in order to be complete. The processes are: Production Dialogue Editing ADR (Automated Dialogue Replacement - if needed) Sound Effects Editing and Design Foley Recording (human sound effects recorded in sync with picture) Music Composition and Music Editing Mixing (also called re-recording) ------------------------------------------------------------------------ July 23, 2004 - 05:37 : Little Nemo From filmmusicmag: 3. What is an engineer (aka "scoring mixer") - A scoring mixer, also known as an engineer, works during the recording sessions to record and mix the music. The engineer is the primary technical resource at recording sessions, and oversees all technical aspects of the recording sessions. Scoring mixers work closely with composers and songwriters to make sure the recording process happens successfully, whether in a commercial studio or at a home project studio. Scoring mixers can also be a great source of technical information for composers and songwriters, providing up-to-date information about how current technology is used. ------------------------------------------------------------------------ July 23, 2004 - 05:40 : Little Nemo From the Directors Guild of Canada (of all places): Post Production Accountant(PPA) The Post Production Accountant is responsible for the coordination, supervision, and operation of the accounting department after principal photography has been completed. ------------------------------------------------------------------------ July 23, 2004 - 22:33 : Little Nemo Regarding Orchestra Contractors: From John Hopkin's Magazine: It is the contractor's job to hire the musicians, handle the payroll, and see to it that everyone abides by the union work rules. ------------------------------------------------------------------------ July 23, 2004 - 22:40 : Little Nemo From The California Employment Development Department: Lighting Technicians are members of the production crew who set up and operate electrical lighting equipment for motion picture production. Lighting Technicians determine from the Chief Lighting Technician what the Photographer is attempting to accomplish and how the set will be lit. They also handle the hook-up of all electrical apparatus used, setting up and adjusting various types of lighting equipment. ------------------------------------------------------------------------ July 23, 2004 - 22:43 : Little Nemo From filmmusicmag.com: 1. What is a Music Coordinator? - A music coordinator works with the composer or songwriter to establish an accurate and realistic budget, and manage the music creation and recording processes to make sure the budget is maintained and followed. While much of the work of a music coordinator involves working with budgets and numbers, music coordinators can also work with contractors to make sure the appropriate number and type of musicians are hired for a project, and can assist with musicians' union contracts and arrangements. Music coordinators can also be very helpful in recommending payroll services, and making good matches between composers and orchestrators, arrangers, scoring mixers, and other parts of the music production team. ------------------------------------------------------------------------ July 23, 2004 - 22:48 : Little Nemo From allfx.com: The Special Effects department's job is to filmicly create photographable events that simulate real events that would otherwise be too dangerous, costly, or impossible to experience in a given setting. Special Effects also refers to the creation of the elements, i.e. wind, rain, fog, smoke, steam, etc. that is performed during principal (live action) photography. It is furthermore the job of the Special Effects Coordinator / Supervisor to create the explosions (pyrotechnics) that occur on the set. The Special Effects crew is usually responsible for the fabrication of systems that will help with the above mentioned responsibilities. ------------------------------------------------------------------------ July 23, 2004 - 22:54 : Little Nemo From the FilmFrog archives: Special Effects Coordinator: specialist in miniatures, mechanical effects, pyrotechnics, matte painting, animation, model making, and special photography; works closely with producer, director, director of photography, art director, and editor. ------------------------------------------------------------------------ July 23, 2004 - 22:56 : Little Nemo From TapeOp.com: I produce and mix records. Everyone that would be reading an audio mag knows what I do, but what does a scoring recordist do? On a large scoring stage there is usually a crew of 4 people. Two guys take care of the stage (the live room), set up chairs, mic the percussion as well as run head phone mixes. With a live room that is 7500 square feet That's a big job! I take care of the control room with the help of a technical engineer, who is sort of like the maintenance tech. I liase with the music editor and the mixer for each film, to make sure everything is in place for the session. During the session I run video playback, all the various analog and digital tape machines, all the synchronization, patching, console automation, virtual timecode, surround mix bussing as well as the stereo "fold down" versions of the surround mixes. I work with a mixer who is pushing faders a guy who is always aligned with the film's composer. That mixer will specify how to lay out the stage and pick the microphones, decide on tape machines and do the final balancing. ------------------------------------------------------------------------ July 23, 2004 - 22:59 : Morbus Iff LittleNemo - thank you! These will be committed to CVS either tonight or early next week. ------------------------------------------------------------------------ July 23, 2004 - 23:00 : Little Nemo From filmsound.org: Mixing (also called re-recording) ... Mixing (also called Dubbing) - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue (and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. ------------------------------------------------------------------------ July 24, 2004 - 07:27 : Morbus Iff These have been committed to CVS in revised form. There seems to be some similarity between a score recordist (defined as "A score recordist runs video playback, analog and digital tape machines, handles synchronization, patching, console automation, virtual timecode, surround mix bussing, and stereo 'fold down' versions of the surround mixes.") and score engineer (defined as "Also known as a scoring mixer, a score engineer records and mixes the music during recording sessions, working closely with composers and songwriters to ensure the process happens successfully.") - if a score engineer is also recording, why is there a need for a score recordist? Remaining undefined roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ July 26, 2004 - 03:54 : Little Nemo if a score engineer is also recording, why is there a need for a score recordist? I'm assuming the scoring recordist works under the score engineer, while the engineer works out the "larger issues of the score" with the composer/songwriter, etc. Kind of like the relationships between: Director::2nd unit director Special effects coordinator::Special effects technician Where one is responsible for the logistics of the task, and the other (subordinate) is resposible for the execution of said task. Just a guess though. ------------------------------------------------------------------------ August 18, 2004 - 18:47 : Morbus Iff Just changing the title (in preparation of following issues). Remaining undefined movie roles: 2D Artist, Insurance, Payroll Accountant, Score Performance, Set Director, Special Effects Technician (an underling to a Special Effects Supervisor?), Stereo Sound Consultant, Titles, Video Playback Engineer, and Visual Effects Producer. ------------------------------------------------------------------------ August 25, 2004 - 03:37 : Little Nemo From http://saturn.vfx.com/loup/glossary.html : Set Director (REQUIRED) - The art director's assistant in designing and constructing sets. ------------------------------------------------------------------------ August 25, 2004 - 23:56 : Little Nemo via Dolby(pdf file): The Dolby consultants provide technical and creative assistance to over 250 authorised Dolby film dubbing studios in 43 countries, as well as film laboratories and cinemas. It appears to me that "stereo sound consultants" are actually consultants from various sound companies who help studios use their sound technology. For example: Dolby, THX, Skywalker Sound, etc. More often than not, if a consultant is credited the company he represents will be credited as well. ------------------------------------------------------------------------ August 26, 2004 - 00:23 : Little Nemo Titles: via Digital Media FX: ...In the days of silent film, the story was moved along by title cards, which were imbued with text and inserted through out the action. The white lettering on black backgrounds was sometimes livened up by some decorative additions (such as 'lace' outlines, type treatments or drawings of characters or buildings) but for the most part, they were rather plain. The cards could be found not just within the film, but before as well. And so film titles were born, dull and plain, but they were here. Thankfully they evolved and matured to where they were not just reciting off the names of the films participants, but were actually an integral part of the main feature... ...opening credit sequences that did not simply announce the credits and open the movie, they were instead a logical extension of the film. Each sequence was in it's self a short film that prepared the viewer for what was to come. In his closing credit sequences, he worked to give the story a 'semi-prologue', to give the viewer a chance to continue the experience of the film while bringing it to a close... ------------------------------------------------------------------------ August 26, 2004 - 00:29 : Little Nemo Film Score Perfomance: via Cinescape: `The essence of live music film score performance is that it is live: it is a new hybrid, neither a concert nor a film showing, but perhaps closer to performance art.` According to Byron, silent movies offer composers an important advantage: autonomy, a freedom that would be unimaginable scoring a contemporary sound film where directors know what they want and composers are fairly limited to that view. ------------------------------------------------------------------------ August 29, 2004 - 05:33 : Little Nemo Video Playback Engineer/Operator/Assist via The Society of Camera Operators. 3 part article, here's a gloss summary. Basically the playback engineer/operator works a video camera that is mounted in parallel with the film camera. The footage of the video should be representative of what will print to film. This approximation allows (or allowed) directors to get a feel for a shot without having to wait for dailies. Seen as unreliable in the early years, it helped directors establish blocking for actors who needed it, kept boom mic operators out of shots, and things of the like. That Jerry Lewis is a genius no? -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
