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From: <mo...@di...> - 2004-08-18 13:47:29
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: Bruce D'A. <bd...@fa...> - 2004-08-07 02:54:15
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My understanding is this project was influenced by the FRBR; RDF schema available. http://metadata.net/harmony/ Bruce |
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From: Morbus I. <mo...@di...> - 2004-08-04 03:16:49
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I dunno how long these'll last, but here's a weekly update of all the new stuff happening within CVS. You can see screenshots of most of these features at the wiki: http://disobey.com/noos/LibDB/?ScreenShots August 3, 2004: * adding/editing/deleting of persons finished. * first attempt at person overview, with sortables. * first attempt at group2 overview, sans corp. body. * a default person (me) has been added to the databases. July 28, 2004: * fixed silly off-by-few error in create_libdb_id(). * more default concepts were added, to illustrate its use as genre. * the SQL files no longer drop the tables. as we get closer to LibDB actually being usable for people, keeping this the default would be suicidal. the relevant SQL commands are still in there, just commented. July 27, 2004: * added libdb.pgsql (thanks to Geert Lobbestael!). * libdb.mysql now delimits with single quotes, to make future conversions to PostgreSQL (libdb.pgsql) simpler / faster. -- Morbus Iff ( whooooooo's hoooouuuuuse? ) 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 |
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From: Morbus I. <mo...@di...> - 2004-08-03 20:11:03
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>Sounds good, except you want your scheme to integrate with others. I'm >personally thinking about XML/MODS export and such, along with >integration with more traditional library data, where I want stuff Right - and this is (eventually) planned. Ultmately, when I'm ready for it, I'll be saying to people (like you): "here's the HTML display of various things, and their URLs. Now, gimme an example of representing that HTML array in [your favorite format here]". When I have those examples, then I'll create the code to generate those exports. -- Morbus Iff ( you, me, eropuri? aawwwwwWWWw yYeahahhHHAhhh ) Culture: http://www.disobey.com/ and http://www.gamegrene.com/ Spidering Hacks: http://amazon.com/exec/obidos/ASIN/0596005776/disobeycom icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: Bruce D'A. <bd...@fa...> - 2004-08-03 20:03:03
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On Aug 3, 2004, at 3:40 PM, Morbus Iff wrote:
> I'd really like to get LibDB to "share" data automatically.
>
> For example, say the info-uri scheme. You could set that up right
> now by adding an "identifier type" named "info-uri scheme", with
> a description and blah blah blah. That new "identifier type" has
> a 20 character LibDB identifier. That same 20 character ID should
> be used in /every/ installation of LibDB, such that /every/ install
> of LibDB can share the data held within, whether it's called
> "info-URI",
> "infomatica-uri", "info uri", or whatever.
Sounds good, except you want your scheme to integrate with others. I'm
personally thinking about XML/MODS export and such, along with
integration with more traditional library data, where I want stuff
like:
<name authority="naf" xlink:href="info:lccn/n79055297">
<role>
<roleTerm type="code" xlink:href="info:marcrelator/aut"/>
</role>
</name>
This links a MODS name element to an authority record for the person
that represents (John Kennedy, in this case), identified by an lccn
number.
Note, I don't think the LoC yet has a uri assigned for their role
terms, but I imagine that's coming. There is apparently an RDF schema
that relates these terms to DC.
Bruce
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From: Bruce D'A. <bd...@fa...> - 2004-08-03 19:51:33
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On Aug 3, 2004, at 3:46 PM, Morbus Iff wrote: > Do you know the exact definitions of the above? Is the Narnia > forest, certainly "natural", fictionally "constructed"? http://laneweb.stanford.edu:2380/wiki/medlane/loc Worth reading in its entirety, but the opening fragment is: The Place element encompasses both physical geography (astronomical and terrestrial locations, including their topographic and structural features) and political geography (geopolitical jurisdictions of governments). The emphasis is on the name of an area and/or its government, which may change. Currently, Place has a required 'role' attribute with values of authority, instance, or authority/instance. It also has an optional 'type' attribute with values:natural, constructed, or jurisdictional. It may also have a 'usage' attribute with the single value of subdivision, to indicate suitability as a value of Subdivision in Relationships. Its Entry has an optional 'class' attribute with values:individual, collective, or referential, as well as 'language' and 'transliteration', and may have a 'scheme' attribute. Bruce |
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From: Morbus I. <mo...@di...> - 2004-08-03 19:45:01
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>I was looking through the XOBIS schema* (which bears similarities to >the FRBR), and note it distinguishes between three kinds of places: > >jurisdictional >constructed >natural Hrm. An interesting idea. It'd be trivial to add this to the LibDB schema (and, in fact, I've written a few grandiose schemes for "places" in a CCQ article I never finished - I envisioned mapping data such that you'd be able to say "find me media that mentions places within 30 miles of [this one]"). Do you know the exact definitions of the above? Is the Narnia forest, certainly "natural", fictionally "constructed"? -- Morbus Iff ( you, me, eropuri? aawwwwwWWWw yYeahahhHHAhhh ) Culture: http://www.disobey.com/ and http://www.gamegrene.com/ Spidering Hacks: http://amazon.com/exec/obidos/ASIN/0596005776/disobeycom icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: Morbus I. <mo...@di...> - 2004-08-03 19:39:55
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>How about an easy way to delete massive numbers
>of terms, for those who don't care much about movies?
They'll be a way eventually, yes (probably checkboxes on the
overview pages, as well as an administrative search feature).
For roles (which could be what you're murmuring about), you won't
have to worry much about them for addition of stuff. LibDB will
"know" what roles work with what types, and will only show the
relevant matches (ie., never showing "Cinematographer" when
you're adding a serial).
I've been thinking a lot about deleting terms, and what that
really means. One intent of the data model within LibDB is to
have one "thing" mean the same thing as another "thing", regardless
of LibDB installation. If you delete the official "Cinematographer"
in 2004, and then add it back in in 2006, the unique IDs would
be different, causing a disconnect between the official
"Cinematographer" and yours.
I'd really like to get LibDB to "share" data automatically.
For example, say the info-uri scheme. You could set that up right
now by adding an "identifier type" named "info-uri scheme", with
a description and blah blah blah. That new "identifier type" has
a 20 character LibDB identifier. That same 20 character ID should
be used in /every/ installation of LibDB, such that /every/ install
of LibDB can share the data held within, whether it's called "info-URI",
"infomatica-uri", "info uri", or whatever.
The ultimate goal I'd like is a distributed database,
really, based on trust metrics and open content. Lemme
bullet point this quickly:
* I am Morbus. I've installed the "master" LibDB install.
* PersonA installs LibDB, and decides to "trust" Morbus' data.
* Morbus adds an identifier type called "info-uri" scheme.
* Morbus adds MovieA, and assigns it an "info-uri" data.
* PersonA buys MovieA and adds it to his local LibDB installation.
Since his installation "trusts" my installation, it can grab
data about MovieA from my installation, saving PersonA a lot
of time typing stuff in. During this info-grab, PersonA will
see that Morbus has a [unique 20 character identifier type
that PersonA has never seen before]. PersonA can choose to
import that identifier type (being "info-uri").
* Now, any time PersonA adds more data, he can automatically
import other info-uri's from other trusted LibDB installations.
This is similar to shared MARC servers, but only "more" (in the
sense that, if everyone decided a new format called GAWD is
the hot topic, GAWD data would be shared /automatically/
between trusted installations, without having to change
LibDB versions, create new databases, or upgrade servers).
It's also a way to share other types of "personal" metadata.
I, for one, plan to create a "Death By" annotation. Anyone
who "trusts" my LibDB install would be able to optionally
import my "Death By" annotations into their records as well.
--
Morbus Iff ( you, me, eropuri? aawwwwwWWWw yYeahahhHHAhhh )
Culture: http://www.disobey.com/ and http://www.gamegrene.com/
Spidering Hacks: http://amazon.com/exec/obidos/ASIN/0596005776/disobeycom
icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus
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From: Bruce D'A. <bd...@fa...> - 2004-08-03 19:04:53
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How about an easy way to delete massive numbers of terms, for those who don't care much about movies? Also, it'd be nice to find a way to support the info uri scheme some way, so that as one adds a term for which one can attach some an identifier, who can do it. http://info-uri.info/ Bruce |
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From: Bruce D'A. <bd...@fa...> - 2004-08-03 18:58:22
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I was looking through the XOBIS schema* (which bears similarities to the FRBR), and note it distinguishes between three kinds of places: jurisdictional constructed natural Bruce * http://elane.stanford.edu/laneauth/XOBIS.xml |
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From: Morbus I. <mo...@di...> - 2004-08-03 03:56:56
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Since you're on the list, you have a chance to be default "persons" data within LibDB. If this sounds appealing to you, give me /at least/: full name given name family name language (of name) and, optionally: date of birth date of death title (see ?DatabaseSchema) designation (see ?DatabaseSchema) I need this by tomorrow evening, else you'll bug me. -- Morbus Iff ( for safety's sake, don't humiliate me ) 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 |
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From: Morbus I. <mo...@di...> - 2004-07-27 02:07:08
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July 26, 2004: * group 3 entities (concept, event, object, place) have been added. * removed "form" from libdb_work (ref. "super types" discussion). * new screenshots added to the wiki re: group 3 entities. * added default group entities to the database schema. -- Morbus Iff ( i'm wearing footsie jammies here ) 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 |
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From: <mo...@di...> - 2004-07-25 22:54:26
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: Richard A. <lil...@ya...> - 2004-07-25 21:35:26
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> From: Bruce D'Arcus <bd...@fa...> > Subject: Re: [libdb-develop] Re: W "Forms" and the > use of matching "Roles" > http://www.austlit.edu.au/common/manual/ > AuthorityLists.html#WorkTypeTerms From http://www.austlit.edu.au/common/manual/AuthorityLists.html#WorkTypeTerms : > D.2 Work Types > A work type is essentially about number - is the > work a single thing? Or a collection of things? Or > intrinsically part of a thing? The Work Type > attribute is mandatory for all work records, and can > be chosen more than once. I'm not quite understanding you're implying here. IANAL (I Am Not A Librarian), just an end user, but this still seems redundant to me. Whether or not a work is a single thing, or a part of a thing (such as an issue of a serial/periodical) would be covered by a work's termination wouldn't it? From FRBR (http://www.ifla.org/VII/s13/frbr/frbr.pdf): > 4.2.5 Intended Termination > Intended Termination of a work is a reflection of > whether the work has been conceived as having a > finite end or whether it is intended to continue > indefinitely. It seems to me that WorkTypeTerms would be best used in libdb_relationships_types. Here's an example. Tolkien's LOTR was conceived as a single work, but published as a trilogy. LOTR:TFOTR is an expression of LOTR. To map it out in LibDB: libdb_work: title: LOTR ...................................... libdb_expression: title: TFOTR ...................................... libdb_relationships: referer_table: libdb_work relationship_type_id: ABC referent_table: libdb_expression ...................................... libdb_relationships_types: id: ABC name: AuthorSeries subject: author series includes object: is a part of author series description: A collection of individual works that form a series by a single author. Usually conceived of as a series by the author, but can become a series after publication. John Marsden's 'Tomorrow Series' (http://www.austlit.edu.au/run?ex=ShowWork&workId=CoN)) is an example of author definition, while Martin Boyd's 'The Langton Quartet' (http://www.austlit.edu.au/run?ex=ShowWork&workId=C6dO) was defined as a series after all four works were published. ...................................................... I think this is a handy compromise from casual end user to librarian and/or cataloger. Any thoughts? _______________________________ Do you Yahoo!? Express yourself with Y! Messenger! Free. Download now. http://messenger.yahoo.com |
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From: Bruce D'A. <bd...@fa...> - 2004-07-24 11:02:03
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http://www.austlit.edu.au/common/manual/ AuthorityLists.html#WorkTypeTerms |
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From: <mo...@di...> - 2004-07-24 02:28:22
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: Morbus I. <mo...@di...> - 2004-07-24 00:06:46
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http://disobey.com/noos/LibDB/?DrupalWhatWhat http://disobey.com/noos/LibDB/?InstallationNotes http://disobey.com/noos/LibDB/?ScreenShots http://disobey.com/noos/LibDB/?LatestNews LibDB and Drupal: A bit ago, I converted the Gamegrene backend over to Drupal, a content management system built with PHP. Drupal is one of the only PHP projects I've seen that makes me want to be a better PHP developer: it's good code, good people, and good thinking. I'm a zealot, and I've converted my friend Pixel too. For various reasons (which I'll be explaining on the wiki shortly), I've decided to integrate my LibDB project with Drupal. I've been working on it all this week, and I'm impressed with the progress I've made, as well as the continued help, comments, and enthusiam from the Drupal developer and user community. I really feel this is a strong move for the future of LibDB, and it's heightened my excitement for the inevitable success. -- Morbus Iff ( i subscribe to the theory of intellectual osmosis ) 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 |
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From: Richard A. <lil...@ya...> - 2004-07-23 22:20:00
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I believe that the "Super-type" would be the best option to enforce. As far as "defining" "Super-types" look no further than the <a href="http://www.copyright.gov/">Copyright Office's website.</a href> "Insanity!", you say? Wait, hear me out. The Copyright office's registration forms have their own "super-types": <a href="http://www.copyright.gov/register/literary.html">Literary works.</a href> <a href="http://www.copyright.gov/register/visual.html">Visual arts.</a href> <a href="http://www.copyright.gov/register/performing.html">Performing arts.</a href> <a href="http://www.copyright.gov/register/sound.html">Sound recordings.</a href> <a href="http://www.copyright.gov/register/serial.html">Serials/Periodicals.</a href> Each of these "super-types" have their own criteria for whether or not a given work constitutes inclusion within a particular "super-type". For example: From the Copyright Office's site: <b>Examples of literary works:</b> <i>fiction, nonfiction, manuscripts, poetry, contributions to collective works, compilations of data or other literary subject matter, dissertations, theses, reports, speeches, bound or looseleaf volumes, secure tests, pamphlets, brochures, textbooks, online works, reference works, directories, catalogs, advertising copy, single pages of text, tracts, games, automated databases, computer programs</i> You will notice plays, scripts, screenplays, and dramas all missing from the Literary Work "super-type". That is because they are classified under Performing Arts. Soooooooo... Playwrights, and Screenwriters "roles" would be restricted to "works" that fell under the Performing Arts "super-type". I think this alternative could provide the clarification of roles within works that you were seeking. As for this: >Among all the possible >expressions for a given work, you have to choose one as being best >"representative" for the work, and the "form" of that "representative >expression" is then supposed to be the "constraining super-type of the >work", that is: "if an expression does not fit in this category, then it is >an expression of another work". For instance: in the FRBR conventions, an >adaptation of a novel into a children"s book is supposed to another work >(p. 17; I"ve always found that questionable, but that"s another issue). >This means that the novel has a "representative expression" which has as >constraining super-type: "text - novel"; then you compare the expression >embodied in the children"s book (which has as form: "text - novel for >children") to that representative expression and you find out that they are >different. Of course, an authoritative list for "constraining super-types" >of works is dramatically important in that process, because this is what >will determine your cataloging conventions and demarcating lines between >works. If I do not declare "text - novel for children" as a distinct >"constraining super-type", but only "text - novel", then a novel adapted >for children will remain just an expression of the novel as a work, not a >new work. This flexibility was intended in the FRBR model, as no one in the >world can positively say "This is not the same work" (it"s basically just a >matter of taste...). I agree with the notion that adaptations (or as the Copyright Office calls them "Derivative Works") <b>should not</b> constitute a new "Work", but act as an expression. It just sounds like common sense. Using "text - novel for children" instead of "text - novel" (or Literary Work) is fine if you really want to have adaptations/derivatives defined as their own work, but it sounds redundant when you have already defined Audience as an attribute of an Expression. Besides if the work is an adaptation/derivative of another work, would it be easier to map the relationship from work to work, or expression to work. But as for AustLit's "WorkTypeTerms", or MARC's "Genre List", there seems to be too much overlap; especially when you begin assigning roles to the respective genres or worktypes. The point of this exercise was to eliminate as many orverlapping roles as possible right? Or am I completely misreading this? __________________________________ Do you Yahoo!? Vote for the stars of Yahoo!'s next ad campaign! http://advision.webevents.yahoo.com/yahoo/votelifeengine/ |
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From: Morbus I. <mo...@di...> - 2004-07-23 19:53:39
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Working on the wiki now, but: http://www.disobey.com/dnn/2004/07/index.shtml#001613 -- Morbus Iff ( you, me, eropuri? aawwwwwWWWw yYeahahhHHAhhh ) Culture: http://www.disobey.com/ and http://www.gamegrene.com/ Spidering Hacks: http://amazon.com/exec/obidos/ASIN/0596005776/disobeycom icq: 2927491 / aim: akaMorbus / yahoo: morbus_iff / jabber.org: morbus |
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From: <mo...@di...> - 2004-07-23 18:00:18
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-07-23 17:59:51
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Morbus Iff Status: active LittleNemo - thank you! These will be committed to CVS either tonight or early next week. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-07-23 17:57:12
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-07-23 17:54:52
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-07-23 17:48:37
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
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From: <mo...@di...> - 2004-07-23 17:44:06
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Project: LibDB Version: cvs Component: Documentation Category: tasks Priority: normal Assigned to: Anonymous Reported by: Morbus Iff Updated by: Little Nemo Status: active 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. 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. -- View: http://drupal.org/node/view/9441 Edit: http://drupal.org/project/comments/add/9441 |
