Industry Jobs | Special Effects Coordinator

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the role of special effects coordinator.

What is a Special Effects Coordinator?

Our last post in this series looked at the roles of the key hairstylist and key makeup artist and how they and their teams ensure actors achieve and maintain the desired looks needed for a production. In some cases, these looks might include features such as scars or wounds, or even other-worldly creatures or monsters, requiring special effects makeup. In addition to this special makeup, the world of special effects (also known as practical effects or SFX) comprises many other physical aspects that happen during filming. (These days, the everyday filmgoer might think that most effects they see on screen are digitally produced — think explosions, fire, rain, monsters, etc. — but that is not the case.) According to MasterClass, some common physical special effects techniques used are: designing creatures, manipulating the environment, conducting vehicular stunts, depicting weather elements, and using miniatures, pyrotechnics, or stop motion. These are not the same as visual effects (known as digital effects or VFX), which are computer generated and added during post-production (and will be the subject of a future post). The role that oversees the special effects department is the special effects coordinator (or supervisor).

Job Description

As the department lead, the special effects coordinator is involved in the pre-production and production stages and works with other lead roles, including the director, director of photography, production designer, and art director. The coordinator plays a key role in the planning and execution of the various special effects. According to this Backstage article, the coordinator “oversees the design, creation, and operation of on-set mechanical, electrical, artificial, and explosive effects throughout a production.” This includes determining what equipment and crew will be needed, putting together a team of special effects technicians, such as stuntmen and robotics operators, planning the budget, and — of utmost importance — ensuring that the effects can be accomplished safely. Read more about the responsibilities of a special effects coordinator on MasterClass and Backstage.

How do I become a Special Effects Coordinator?

As with other industry lead roles, there isn’t a specific degree required to be a special effects coordinator, and there are various ways to establish a career path. This lead role requires many years of experience, working varios positions within the special effects department. In this recent LA Times article, several special effects pros offer advice on working in the field and suggest that some ways to get started are attending trade school, having experience in engineering, carpentry, or by working as a production assistant. MasterClass recommends that a degree in industrial design, animation, engineering, or film is helpful. Backstage adds that an educational background in the subjects of electrical engineering, mechanical engineering, physics, biology, and chemistry is helpful, and emphasize the importance of education and training “in hazardous equipment, such as explosives, safety protocols and regulations, and sciences.”

Key skills for this lead role include creativity and a knowledge of the various special effects and equipment used. And as practical (SFX) and visual (VFX) effects are commonly combined, it is helpful to develop digital skills to understand how these two areas work together, as noted in the previously mentioned LA Times piece. As the department lead, this role requires good communication, planning, and organizational skills.

More information: To see examples of various special effects in film, see this StudioBinder article. And, as always, you can learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Jobs | Key Hairstylist and Key Makeup Artist

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with soundstages and locations where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the roles of key hairstylist and key makeup artist.

What do Key Hairstylists and Key Makeup Artists do?

PHOTO CREDIT: ARMENNANO VIA PIXABAY

Our last post in this series focused on the role of costume designer and how they and their team manage the actors’ wardrobe and accessories, contributing to a believable look and feel in a film or TV production. Two additional elements that help the actors portray their characters effectively are their hair and makeup, which are two distinct activities under the purview of, you guessed it — the hair and makeup department! The lead roles in this department are the key hairstylist and key makeup artist. From natural looks to the use of wigs and prosthetics, to more complex special effects, the hair and makeup crews use their creativity and artistry to help the actors transform into their characters and maintain their looks throughout filming.

Job description

As leads in their department, the key hairstylist and key makeup artist collaborate with each other, and report to the production designer. They are involved at the pre-production and production stages. They first need to read the script to understand the characters’ hair and makeup needs relative to the time period, location, and genre depicted in the production. Next, they conduct research to reference images so they can create the hair and makeup plans for the actors. These leads are typically responsible for attending to principal actors’ hair and makeup and being on set during filming to do needed touch-ups, while they will delegate to and oversee the other stylists who take care of the additional actors. They will also ensure continuity of the hair and makeup during filming.

How do I become a Key Hairstylist or Key Makeup Artist?

PHOTO CREDIT: STOCKSNAP VIA PIXABAY

As these are lead roles, the individuals should possess hairstyling and makeup artistry skills, knowledge, and experience. The key hairstylist should be experienced with not only cutting, coloring, and styling hair, but also possess a knowledge of working with and maintaining wigs and bald caps. The key makeup artist should be experienced with applying and removing various types of makeup and prosthetics and have a knowledge of how to address skin conditions and allergies. And, as lead positions, it is important to be flexible and have a good attitude and effective communication skills as they work with actors, hair and makeup team members, and others on set, often under tight deadlines and in close quarters.

No formal educational degrees are required for these roles; however, cosmetology school is helpful in both the hairstyling and makeup fields to learn needed skills, practice techniques, and prepare for any required licensing exams or certifications (check with your state/local government for local requirements). These key roles require experience which can be gained in different ways, including working in hair and makeup jobs outside the film and TV industry, working on student and low- budget films, and getting industry experience as an on-set hairstyling assistant or PA, or a makeup assistant or assistant makeup artist. In these ways, individuals can make connections and ultimately work their way up within the hair and makeup department. It is also important to maintain a portfolio showing the range of hair or makeup looks one has created. Note that makeup artists are responsible for supplying the makeup, brushes, and other tools they will use on set, so they need to build a toolkit containing those items.

More information. Find overviews of the key hairstylist and key makeup artist roles on Backstage (here and here) and MasterClass (here and here). Find general information about hairstylist and makeup artist roles on Media Match (here and here).

Read about hair department head LaWanda Pierre’s experiences and get her advice in this interview. Learn about the different types of makeup artists, what’s in a kit, information about joining the union, and other resources in this article. And, as always, you can learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education an training programs; and state, city, and borough industry information.

Industry Jobs | Costume Designer

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the role of costume designer.

What does a Costume Designer do?

Our last post in this series focused on the props manager role and how they and their crew enhance the physical set and scenery that the actors interact with, further creating a believable world within the production. Additional physical items on the set include the wardrobe and accessories worn by the actors. These items are managed by the costume designer and their team, which can include wardrobe supervisors and trainees, seamstresses, and costume assistants. What an actor wears is an important element of telling a production’s story and shaping an actor’s character. From ensuring historical accuracy and reflecting a character’s evolving look over a specific timeline, to determining color palette, materials used, and more, the costume designer is a key art department role that works with other departments to develop and execute a cohesive look and feel in a production.

Job description

pHOtO CREDIT: dean moriarty via pixabay

The costume designer works closely with key roles, including the director, production designer, and director of photography, and maps out plans for each character’s costume (called costume plots). The costume plots reflect color, style, and character evolution across the various scenes. This stage requires research to ensure the costumes and the garment construction methods are accurate to time period and location being depicted. The costume designer provides hand drawn or digital renderings of the costumes to the director to secure their approval. As they execute the costume plan, the costume designer will need to determine whether the costumes are to be bought or made, arrange for purchase or creation, and see that the actors get fitted. Additionally, they will likely be on set when the costumes are first worn, to ensure proper fit and the actor’s comfort in wearing the garment. Also, as a leadership role, the costume designer will be responsible for budget management, scheduling, hiring suppliers and costume makers, selling, or otherwise disposing of the costumes, and ensuring safety protocols are followed by their team. Hear firsthand about what it is like to be a costume designer in this Costume Designers Guild interview with Academy Award-winner Alexandra Byrne (“Elizabeth,” “Elizabeth: The Golden Age,” and “Mary Queen of Scots”), in which she discusses her experience, key aspects of the job, and advice to those pursuing a career as a costume designer.

How do I become a Costume Designer?

PHOTO CREdit: Shelley evans via pixabay

As with other lead industry roles, costume designers need a broad range of skills, knowledge, and experience. It is important to be creative, with an understanding of fashion, color, fabric, clothing construction, and costume history. Also, it is important to possess the ability to draw, and it is useful to know how to use software to create digital renderings. As a lead role, it is important to have good planning, organizational, and communication skills when working with team members and others. Being skilled at conducting research and having a knowledge of industry safety protocols is also necessary.

No formal educational degree is required for this role, but it can be helpful to attend design school to learn needed skills and to get work opportunities or apprenticeships through the school. Experience in related areas including fashion and theatre or graphic design can also be helpful for someone wishing to break into a costume design career. A good way to enter the career path for this role is to start as a production assistant and work your way up through various costume related roles, gaining experience and contacts as you develop your career, and creating a portfolio to display your work. Working other jobs on set can be helpful to learn the various aspects of film production that a costume designer will need to be familiar with.

More information. Find advice, and learn more about the role of a costume designer, including job responsibilities, skills, and experience needed, at Backstage (here and here), Careers in Film, Mandy, MasterClass, Media Match, and Screen Skills. Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Job Focus | Props Manager

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the role of a Props Manager.

What does a Props Manager do?

In our last blog, we looked at how the artistry and creativity of scenic artists add detail and texture to a production’s physical set to create a believable depiction of the unique world of a TV show or film. Adding additional layers to this believability is an art department team that is responsible for the physical property that the actors interact with – this is the property, or “props” department. From animals, documents, and food, to sunglasses, sports equipment, candles, badges, weapons, and more, the list of items that the props department manages is diverse and seemingly endless.

Job description

The lead role in the props department is the props manager (also known as the props master). The props manager works closely with the production designer, art director, and others to determine what props will be needed and whether the props need to be bought or made. This will entail managing the budget and doing research to ensure the props are accurate to the production’s time period, location, or other specific aspects. Additionally, the props manager will need to arrange for the purchase of any props that need to be bought, and to secure and manage the services of manufacturers for any props that need to be made. They will then need to organize the props for efficient retrieval as they are needed on the set, and ensure they are removed when production is wrapped up. Keep in mind that there will need to be multiple back-up props in case of damage, so the props manager is responsible for a large inventory. Further, an important element of the role is to ensure safety protocols are followed by all those handling the props.

Depending on the size and budget of the production, the props manager might be responsible for overseeing individuals handling specialized props, such as food, animals, or weapons, or they might need to handle these props directly. Similarly, on a smaller production, the props manager might even need to make the props themselves! Learn more about the job responsibilities of a props manager at MasterClass, Backstage, and Screen Skills. Watch a good overview about the importance of props from this Raging Cinema video, “Why Props Matter,” which provides film examples of the many different kinds of props that can be used and how they serve as an integral part of telling a film’s story. Also, see this Great Big Story video, “Making a Paper Trail,” in which paper props artist Ross MacDonald discusses the many props, such as books and documents, that he has created over the years. You are sure to see many familiar images in these videos!

How do I become a Props Manager?

The role of props manager requires a broad range of knowledge and experience. As a lead role, you need to possess planning, organizational, and communication skills as you work with your team and others. Additional skills that are important in this role include conducting research, learning the intricacies of the various props and how they work, the ability to negotiate pricing as you purchase props, and knowledge of industry safety protocols, including receiving firearms training and certification.

To become a props manager, you need to have experience, which will require working your way up within the art department, doing various props-related jobs to learn the industry. Also, working in a props warehouse will be helpful to gain experience. In addition, it will be important to develop a network of craftspeople and manufacturers to fulfill your props needs. A degree is not required for this role, but training in fine arts or design is helpful, as is participating in an apprenticeship program. For more information on how to become a props manager, see Media Match and MasterClass. Finally, for a fascinating look at the skills and responsibilities of professional prop managers, read this Mental Floss article, “11 Behind-the-Scenes Secrets of Prop Masters.”

Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Jobs | Scenic Artist

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the role of a Scenic Artist.

What does a Scenic Artist do?

In our last blog, we looked at how the Construction Manager and crew create or enhance the physical sets on which productions take place. In this post, we focus on the individuals who use their creativity and multiple artistic skills to add details and texture to those physical sets, making the world of a production come to life in a believable way. From painting large background landscapes that convince you the actors really are in a particular location,  creating a marbled look so you think you are seeing a real column, to faux tiles and details like wood grain or a weathered look on an old farmhouse, Scenic Artists make it happen.

Job description

Taking the lead on the activity is the Key Scenic Artist, who works closely with the Construction Manager and typically reports to the Production Designer or Art Director. The Key Scenic Artist leads the team of Scenic Artists, making sure they execute the needed effects. As a lead position, the Key Scenic Artist will likely be involved in managing a budget and the purchase of materials, as well as ensuring safety protocols are being followed by their team as they work with paint and other materials.

Before the Scenic Artists do their work, a set will likely consist of blank walls and surfaces. The Scenic Artists use paint to transform these surfaces, adding depth, contrast, and texture to deceive the eye. Examples of projects that Scenic Artists might be called to work on include:

• painting backdrops (think of a sunny or cloudy sky; natural settings such as the mountains, the ocean, or a forest; a cityscape; the inside of a castle or a spaceship; or anything you might see through a window in a scene)

• painting props with faux finishes and effects (such as the marble column, faux tiles and old farmhouse previously mentioned).

Read more about the job responsibilities of a Scenic Artist at Media Match and Art Departmental (which also features descriptions of related industry painting jobs). Hear firsthand about the job from this LA Times video interview with Hollywood Scenic Artist Mike Denering in which he describes how they effectively used a painted cityscape for the film “Die Hard” and painted a sunset for the film “Lemony Snicket's A Series of Unfortunate Events.” And watch this Variety video interview with Scenic Artists working on an LA Opera production of “Macbeth” to learn how they created the details and effects to be seen by an audience.

How do I become a Scenic Artist?

To become a Scenic Artist, you need to possess comprehensive artistic skills, including painting techniques, color mixing, sketching, sculpting, and other techniques like marbling and texturing. You will also need to be able to take ideas from small-scale to large-scale. A knowledge of art history and architecture will be helpful as you bring different time periods and structures to life on a wide variety of projects. If you aspire to the Key Scenic Artist role, you will need to possess the aforementioned skills, adding to them experience in the industry and leadership qualities such as being an effective communicator, being organized, and working well on a team.

An art school background or education in theatrical design or fine arts will help aspiring Scenic Artists learn required skills. To gain experience, try getting a job in an art department, whether for a studio or a theatre production, as this is a great way to learn the various roles and techniques used. Another way to get training and on the job experience is to become an apprentice, through programs like the one offered by Local USA 829. For more information on how to become a Scenic Artist, see Media Match and Backstage. Finally, read this advice from Scenic Artist James Rowse on different routes into the scenic art industry.

Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Jobs | Set Construction Manager

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we look at the role of a set Construction Manager.

What does a set Construction Manager do?

In our last blog, we looked at how the Production Designer shapes what is seen in a film or TV production, including aspects such as historical details, color palette, location, and more. Another key Art Department role that helps bring that vision to life is the set Construction Manager. Sometimes known as the Construction Coordinator, the Construction Manager leads the crew that creates the physical set on which other crews, such as artists, decorators, and props, add their touches to make a believable backdrop for a production.

Job description

At the direction of the Production Designer, the Construction Manager leads the building of sets, which includes hiring and leading the various construction teams, such as carpenters, painters, riggers, and plasterers. Not only do they manage budgets and schedules, but the Construction Manager is responsible for ensuring safety protocols are being followed on these unique construction projects that involve machinery and tools and need to physically support numerous on-set crew and cast members for the duration of the production.

The sets can be built on sound stages or on location. A key aspect of this construction is that it is often temporary, as it will be taken down at the end of the project, known as “striking.” So, the crew builds with this in mind, using easy to manage, lightweight materials, such as plywood that can be decorated with paint or plaster to appear to be the genuine article. However, sometimes the construction is meant to be permanent. In this MPA piece, Construction Coordinator Jonas Kirk (“Transformers 4: Age of Extinction”) describes how a production can sometimes improve a structure or property. He also illustrates the comprehensive scope of set construction, such as coordinating a large team and filming across multiple geographical regions, plus other unique complexities of a production.

How do I become a Set Construction Manager?

As the lead role managing set construction, it is important for a Construction Manager to have a background working in construction in the film and TV industry. This will impart needed skills and knowledge and will also help one develop a network within the industry. Construction experience outside the industry is also helpful. Some employers might require formal education, so study in the areas of architecture, engineering, or construction management is valuable, as are film school courses related to set construction and design. Further, a knowledge of safety best practices and requirements is necessary. Finally, skills such as project and time management, leadership, and excellent communication will help the Set Construction Manager as they interact with their crew and other set departments. Read more about set Construction Manager job responsibilities and needed experience and skills on Backstage and Media Match.

Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

United Scenic Artists Local 829 - Welcome the Apprentice Class of 2024

The United Scenic Artists Local 829 recently accepted 18 applicants for their three-year apprenticeship program. Sponsored by Local USA 829 as a Trust Fund, the program is for individuals with a working knowledge of art, theatre, film and related industries, but with less than three years of experience.  Before being accepted into the program, each applicant must take a three-part test and meet minimum passing scores for each part of the testing process in order to move on to the next phase of testing.

Once accepted into the program, the apprentices will be assigned to a variety of different jobs within the jurisdiction of USA Local 829 over the three-year program. They must complete approximately four thousand hours of training in a variety of specific skills. Included in these hours are seminars, homework assignments and projects, and class work - all reviewed and critiqued by the instructors and committee members. The class work instruction is held at a facility we donated and remodeled specifically for the apprentice program, located at our Arthur Kill campus on Staten Island.

Broadway Stages is honored to play a role in the artistic development of the scenic artists who are part of the program and privileged to support USA Local 829. Congratulations to the 18 program participants; we hope to see you working at our studios in NYC one day soon!

For more information about the scenic artists apprenticeship program click here.

Industry Jobs | Production Designer

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we answer the question: “What’s a Production Designer?”

What’s a Production Designer?

We previously discussed how the Cinematographer uses elements such as camera equipment, lighting and framing to make a production come across effectively on screen. This week, we look at the role that determines the actual visuals that the Cinematographer captures. It is a key role that helps bring the Director’s ideas to life; a role that determines how the world within the production will be seen. This is the Production Designer, leading the effort to shape the setting in which the actors will play out the story. The time period, historical details, color palette, and location are examples of the production elements that the Production Designer needs to consider and plan before various set crews, from construction, props and costumes, to wardrobe, hair and makeup, and others, can begin to fully implement their work.

Job description

Due to their foundational role of determining what the production will look like, the Production Designer must be involved at the earliest stages of production. This, of course, means reading the script and working closely with the Director, Cinematographer, and other department leads so they can plan out various aspects of the production. During pre-production, they work together to discuss topics such as the setting, considering whether to film on location, build a set, or use CGI. They must also consider the color palette of the film, as well as other details that will bring across the right tone and theme. The Production Designer will likely need to do research to make sure they get the details right, for example, looking into the art and history of the time period that will be depicted. Based on this pre-work, the Production Designer can sketch out visuals that the Art Director can then bring to life. This early stage also includes working with the Producer to determine the budget that will be needed. The Production Designer hires the right crew for the production, including the Art Director, set designers, and others.

During production, the Production Designer essentially wears two hats, being present on set to simultaneously monitor that day’s activities, while making sure the next day’s set is being readied. This entails being able to troubleshoot any problems that might arise. Read more about the role of a Production Designer from the New York Film Academy and on MasterClass.

How do I become a Production Designer?

As you have read, this role requires a broad set of skills, including not only creativity, but knowledge of various topics such as design and history. As the leader of the Art Department, it also requires strong leadership and planning skills. A degree is not required, however, having an education in filmmaking or other area such as art, history, architecture, and design is helpful. As with other jobs in the industry, on the job experience across many departments is helpful to not only learn about various roles, but also develop a network within the industry. Read more about the skills and training needed to become a Production Designer at Master Class, Production Beast, and Careers in Film.

Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Job Focus | What’s a Cinematographer?

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we answer the question: “What’s a Cinematographer?”

What is a Cinematographer?

In our previous blogs, we looked at the roles that the Gaffer, Key Grip, and Sound Designer play in managing the extensive lighting, equipment, and sound needs for a production. In this post, we look at the lead role responsible for bringing the lighting and camera elements together to visually tell a story in a TV or movie production -- the Cinematographer.

According to Studio Binder, the term cinematography is taken from the Greek for “writing with movement,” it is the creation of images you see on screen. A series of shots that form a cohesive narrative.

Also known as the Director of Photography or DP, the Cinematographer is responsible for key elements that determine how the production will come across on the screen, from choosing just the right camera and lens to use, and determining camera movement, to driving framing and lighting decisions for the scene. Let’s take a closer look at what this key role encompasses.

A Sight to Behold

The Cinematographer works closely with the Director to make their vision of the production comes to life on film. The Nashville Film Institute points out the importance of the Cinematographer’s involvement at the various stages of production, from pre-production, making sure they understand the Director’s vision and securing the right crew and equipment; to production, working closely with the lighting and camera crews, using various methods including framing, lighting, and more to get the right effects; and finally, post-production, making sure the integrity of the cinematography is retained. Read more about the duties of a Cinematographer at Master Class.

The skill of the Cinematographer can make or break a production, as the various techniques employed help to more richly highlight the subtleties of a story. Check out Studio Binder for examples such as camera placement – using a close-up shot of a person chewing while eating to visually illustrate that they are ill-mannered.

How Do I Become a Cinematographer?

As is the case with many roles in the industry, on-the-job experience through working various jobs can put you on the path to becoming a Cinematographer. This will also help you develop a network within the industry, which can be helpful as you develop your career and build your reputation. A film school degree is not required, however it can be helpful in learning the various elements of filmmaking, such as film and video production and directing. As with on-the-job experience, film school can also help you create a network of professionals that you can keep in touch with throughout your career. Whether you attend school or get on-the-job experience, be sure to learn technical skills such as light manipulation and knowledge of equipment. Read more about how to become a Cinematographer at Master Class. Read advice from professional Cinematographers at Careers in Film.

Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Industry Jobs | Sound Designer

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they can shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we answer the question: “What’s a Sound Designer?”

What is a Sound Designer?

In previous posts, we looked at the roles the Gaffer and Grip play in managing the critical areas of lighting and infrastructure on film and TV production sets. In this installment, we look at another key part of a production — sound.

The nuances of sound combine with visual elements to set a production’s mood and can trigger myriad emotions in an audience. The professional that ensures everything blends together exactly right — from background noises, voices, music, and more — is the Sound Designer. According to Master Class, the Sound Designer works closely with the Director, and others, such as the music supervisor, audio and sound editors, sound effects and technical sound designers, and more. A Sound Designer can be involved during pre-production, however, StudioBinder points out that most of the work done by this role takes place post-production. Check out their blog post to read about examples of how sound was finessed on various productions with sound effects and more.

How do I become a Sound Designer?

According to Master Class, being a Sound Designer doesn’t require a specific formal education, however, a background in areas such as music, film, and audio engineering, to name a few, are key. Additionally, a knowledge of many musical genres, plus technical skills (sound recording programs and audio equipment), good communication, and last, but not least, creativity, will serve you well in this role. 

Careers in Film offers additional tips for becoming a Sound Designer, such as taking freelance jobs and doing internships, both of which can help build a network and a good reputation as you work your way along this career path. 

For more information about how sound can be effectively used in a production, read this piece from The New York Film Academy.

Industry Jobs | Key Grip

As one of the premier studio production companies in New York, Broadway Stages works to meet the growing needs of the film and TV industry while also focusing on the needs of our community. We provide the industry with a soundstage or location where they shoot their scenes, but they also need a skilled and experienced workforce. In this series, we look at the various jobs that make a production come to life. We hope it provides insight and encourages you to consider a career in the film and TV industry. This week, we answer the question: “What’s a Key Grip?”

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In our first installment, we highlighted the role of the Gaffer, who heads the lighting department. A production’s lighting requires extensive set-up of equipment and rigging, and this falls under the purview of the grip department.

What is a Grip?

According to Mental Floss, the term was adapted from the American theater where it was used for a stagehand who helps shift scenery. But as usual, it’s all in the details and this crew, led by the Key Grip, has a lot of responsibility. 

Job Description.

The Key Grip is the chief supervisor of the grip crew responsible for setting up camera equipment and rigs, operating camera dollies and cranes, setting up lighting rigs and operating other non-electrical lighting equipment.

The Key Grip is involved in the earliest stages of production planning to ensure the lighting and cameras are ready to meet the unique needs of each production. The Key Grip works closely with the Gaffer and the Cinematographer or Director of Photography (DP) to ensure proper set-up for the lighting and camera equipment. The Key Grip also collaborates with the camera operators to determine the necessary grip equipment needed.

Getting a grip on things.

While the Key Grip, assisted by the Best Boy Grip, has numerous responsibilities, their first and foremost is safety on the set. According to Careers in Film, the Key Grip is second in charge of safety, after the 1st AD (first assistant director). This makes sense given the grip department is responsible for putting in place a lot of a set’s infrastructure. The grip crew’s expertise at safely and securely installing the equipment and rigging is crucial to make sure no one gets hurt. No Film School compares the grips to a construction crew, setting up many elements — from filters and tents to scaffolds, ladders, dollies, tracks, and cranes. This not only ensures proper lighting, but also provides stability and the right positioning for the camera. The next time you view a scene filmed with exceptional lighting, from a great height, or at a high speed, think of the grip department and the work they did to make that happen! Read more about what’s involved in the role of a Key Grip at MasterClass and Careers in Film.

How do I become a Key Grip?

With no specific degree required, the best way to become a Key Grip is with job experience. According to MasterClass, important skills to develop are technical knowledge, as the job involves working with various equipment and tools. Also, problem-solving skills are crucial in finding solutions to the unique needs of each production. And finally, communication skills are paramount for a Key Grip who needs to effectively lead a crew. Learn about film and TV industry jobs, training, and more in the Broadway Stages’ Industry Resource Guide. Our guide provides information about industry-focused job posting sites; links to general recruiting sites; education and training programs; and state, city, and borough industry information.

Camp Brooklyn 21 Day Matching Challenge Fundraiser

Did you hear the great news? Summer camps have been given the green light to reopen, allowing kids of all ages to take a break from city life to enjoy the great outdoors. Summer camp is a fantastic way for children to get in touch with nature and disengage from technology. Unfortunately, roughly 33% of kids in the Brooklyn area are unable to participate in summer camp due to poverty. That’s where Camp Brooklyn comes in! Since 2002, Camp Brooklyn has helped over 3,500 children go to summer camp and experience everything it has to offer. Through financial and in-kind donations, and a crew of volunteers, Camp Brooklyn is able to provide access to life-changing camp experiences for Brooklyn children from low income families, equipping them with critical growth and leadership skills and broadening their world.

Please join us in supporting Camp Brooklyn by participating in the 21 day matching grant challenge. From now until May 9th, Broadway Stages will match donations up to $10,000 in an effort to give as many kids as possible the gift of the great outdoors. As a member of the board of Camp Brooklyn, we have seen first hand the difference summer camp can make in the life of a child. Click here to be part of an amazing vision – to positively transform children, families and our community.