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Film Industry Jobs
So you want a job in the film industry? While a lot of the business has changed quite a bit in recent decades, one aspect hasn't: there are movies with a lot of money and there are movies made from sheer will.
Let's break down film production jobs in terms of budgets. If working in a bigger system where you might do less but are exposed to fancier sets, expensive technology and the accompanying toys, then a big studio film is more of your atmosphere.Big Moolah
If you want to work on a bigger budgeted film, and we're talking nine-figures, you're looking at predominantly franchise movies. Recent films that are in this price range (200-300 million) include: Jurassic World, Star Wars Ep. VII The Force Awakens, and Batman vs. Superman. As you can see, these are movies with recognizable characters set in a world where people get eaten and things blow up. Films of this magnitude can employ thousands of people in mostly film crew jobs. For example, Iron Man had a credited list of 3,310 crew members. This is a lot - films average around 1,000 crew members to give you an idea. This means bigger budgeted films have departments that include assistants, assistants to assistants and so on.
Depending on the film, certain departments will be more stacked than others. Over half of the crew members in Iron Man were in visual effects. In contrast, Peter Jackson hires more people in special effects than in visual effects for his films. In other films, the art department might be fuller if a certain aesthetic requires that kind of demand.
Because films with large budgets employ so many people, the wages are not significantly higher than lower budgeted films. Production assistants get paid anywhere from $80-$300 depending on overtime. A bigger army doesn't mean larger slices of the pie; there are just more of them. Above-the-line costs including directors, producers, cast and writers can take up a big percentage of the budget, sometimes over 50%, leaving the rest to be divided by a heavy arsenal of people to make sure the film looks, sounds, and feels good.Middle Class
Mid-tier budget films operate similarly to the bigger studio films but with less money. So the people doing the work are often wearing multiple hats and expected to output more. Some examples of films in this budget are The Ridiculous Six, American Sniper and Deadpool. Their bottom lines all came in just shy of $60 million according to IMDB. Most consider this budget level to start around $5 million.
Movies in this budget range have vastly decreased in production as studios seem to have forgotten how to make films such as Juno, Slumdog Millionaire and The King's Speech. This is the auteur's dream budget range which is why we haven't seen David Lynch make a movie since Inland Empire. The arthouse directors of the '80s and '90s can now be found making content for the silver screen.Shoestring
If guerilla warfare is your style, then you're looking to work in low-budget indies. You wear all the hats and are paid the least. These are often passion projects that involve everyone making sacrifices at every stage. Top level acting and directing talent that get involved take a big pay cut because it's a role they don't normally get to play or a subject matter they don't usually get to direct. Writers might be looking to break out of more commercial genres and therefore are willing to write for a big pay decrease.
Filmmakers in this budget range are usually gunning for festival screenings to get their name out there as being able to do what it takes to get a good film made. Shooting days are long, sometimes 16-18 hours, but it can feel "worth it" and that you are really "making a movie," as everyone is more utilized and involved in the process.Rates
Something to consider if you are looking for work designated as below-the-line are day rates. Producers on small budget films will often ask for flat day rates from their crew. Sometimes you will be asked to work for free. We strongly advise against working for free (particularly for below-the-line) so be informed of state labor laws. Whether it's a day rate or a request of free labor, know what the labor laws state pertaining to your specific position.
When a producer on a low-budget indie offers you a flat rate, it means they don't have the budget to pay you the film industry standard and are asking you to make a compromise on behalf of the project. If the film you're working on is a piece of art that you believe in and might propel you to the next level in the film industry, working for grueling hours might be the right move. Unions of course help with enforcement of your hours and pay but there are exceptions made for ultra low and low budget projects that can result in flat rates.Back End Points
So we have talked rates in film production but you're thinking what about back end points? This is profit participation in a film. See: above-the-line. See further: producers. This is why you see more and more actors that are producers on films they are in. A trend in recent years is for actors to take a pay cut on their filming fee in hopes of getting a better return on the back end. But they need that producer credit.
Producers are the ones that stand to gain the most on back end points of a film. But still, this is after studios, domestic and foreign distributers, producer reps and investors have been paid back their money and percentage. Depending on the deal, writers and directors will also get back end points but it's usually after everyone has been paid out and there's no money left. Ten percent of 0 equals you're doing it for the passion.
Passion is the currency of film production in general. It will remind why you are working a 14-hour day on a Sunday and keep you warm on overnight shoots. Not to say you can't make a living in the film industry, but it takes a lot of "paying your dues" or hitting an unseen home run before you start seeing substantial income. But instead of printing TPS reports, you'd be making the movie about TPS reports.Union vs. Non-Union
Unions are put into place to protect the people working in production whether it be the actor or the makeup artist or the director of photography. If you decide to work on a non-union project, just remember the producers don't have to adhere to the strict labor guidelines of union projects such as: paying within a set timely manner, specific safety standards, enforced meals after a certain amount of time (6 hours,) and many other rules that are fineable if broken. Non-union productions are still subject to state labor laws however. Getting into unions vary from union to union and in some cases can require upwards of thousands of hours on union productions and adequate recommendations from existing union members.
Here's a look at what Hot Jobs in Production for 2016 were according to Mandy.com:
- Production Assistant, 0-2 years experience, $25K+
- Production Coordinator, 2-3 years experience, $30K+
- 1st Assistant Director, 2-3 years experience, $75K+
- 2nd Assistant Director, 1-2 years experience, $55K+
- Development Executive, 1-2 years experience, $50K
- Producer, 3-5 years experience, $65K+
- ADR (Automated Dialogue Replacement) is often referred to as looping or dubbing. This part of filmmaking happens after a film has been shot and a recordist needs to record new dialogue because one of a few scenarios: the recorded location sound is not usable either for technical reasons (perhaps because location sound was noisy or low quality) or editorial changes (lines of dialogue have been modified); or to add voice-over (which can either be planned in the script or added later to help clarify a confusing plot.)
- An aerial specialist operates the aircraft that carries the aerial camera crew (aerial director of photography (DP) and aerial camera assistant). This crew shoots the aerial sequences that become scenes in the finished film. Camera pilots are also responsible for manning any kind of aircraft, such as helicopters, planes, hot air balloons, etc., that serve as action props. This job often requires high-level stunt experience.
- This person is in charge of all animal actors and trains these actors to perform on cue.
- This person oversees all of the art department on a film which means working right under the production designer and art director, they execute and ensure the visual artistry in the film, honoring the vision set forth in pre-production.
- Commonly referred to as the leadman: this person is the lead of art department and oversees set dressers and swing gangs and is directly under the set decorator.
- This person is a set dresser who dresses and strikes sets, and also picks up and returns the dressing. They usually are prepping a shoot or striking a set so they often are not working when the main production crew is.
- Art Directors oversee all art direction for the film and manage what is often one of the largest divisions of a film set. They manage the execution of the production designer's vision for sets and locations that serve the overall vision of the film in regard to visual artistry. This position also oversees the department's budget, schedule and collaborates with the production designer on making miracles happen with the money given.
- Most commonly referred to as the AD, this person is the director's right hand person, overseeing the logistics and schedule of shooting so the director can focus on executing their creative vision. AD's go through the entire script in pre-production (pre-pro) in what is called a shot-by-shot storyboard, so they can determine with the director the order in which scenes will be shot and how long those scenes will take to film. The AD then takes all this information to then create a shooting schedule for the entire film shoot.
- Most commonly referred to as The 2nd AD is the AD's point person and right hand. The 2nd AD's main role is to support the AD. The main functions of the 2nd AD are to draw up the call sheet (which breaks down all information regarding the following day of shooting) and to make sure principal actors are in hair and makeup and then on set according to schedule.
- Most commonly referred to as The 2nd 2nd, this person supports the 2nd AD and is in charge of wrangling all extras and directing those extras in a scene.
- This person assists the director and editor in organizing all the elements of the film so the film can be edited. They are often responsible for laying down the rough timeline of the film that will then go into the main edit.
- This person is the middleman between production and the writers and prints and disseminates scripts to production. The assistant script coordinator also manages clearances.
- This assistant helps the lead stereographer with their interactive relationship between interaxial, convergence and focal length.
- This role is an administrative person who assists the producers throughout pre-production, production, post production, marketing and distribution with whatever they need. They must be able to understand the entire production process. They have to provide a ton of organization and be able to adapt to a changing schedule. Coverage, phone calls, emails, drafting letters are just a few examples of the communication responsibilities of this role.
- Commonly referred to as the AP, the associate producer's role is similar to a producer's assistant, in that they are assisting a producer with whatever they need but their work is more directly related to the producing of the actual film. Responsibilities can include writing, editing, script organization, and assisting the editor with smaller editorial choices.
- This person is the legal representative and advisor of the film.
- This person in the sound crew mans the audio recording equipment on set, minimizing the background noise in sound and need for ADR.
- This person mans equipment that creates audio and visual images. The audio visual technician is often responsible for synching audio and visual images.
- This person is the lead electrician on the gaffer's team, which is in charge of lighting and electric work associated with that. The best boy manages all the lighting technicians, including paperwork, scheduling and logistics. The best boy coordinates between the production office and the lighting company, and reports directly to the gaffer. This person is also responsible for ordering equipment, handling any damaged or malfunctioning equipment, returns and exchanges.
- This person supports on set sound mixer as well as operates the boom microphone whether it be handheld or on a dolly mounted moving platform. The boom operator places any clip or radio microphones on actors or around the set if needed. These portable mics are used to collect the best dialogue for the sound mixer. Boom operators have to find the balance of collecting the best sound without the boom microphone visually creeping into the visual appearance of the shot.
- This person is in charge of cables on a production. A cable puller often follows roaming cameras to ensure that the cables stay attached without being a safety hazard.
- Commonly referred to as the 1st AC, this person's main responsibility is focus pulling on the camera - this means adjusting the camera's focus depending on the motion of the actors in a scene. The 1st AC reports directly to the DP and is usually hired by the DP.
- Commonly referred to as the 2nd AC, this person holds a pivotal role in the camera department, responsible for making sure everything runs smoothly in regard to camera work. They report to the 1st AC and support the 1st AC to ensure the DP gets what she/he needs as far as picture is concerned. For films that are actually shot on film, the 2nd AC is responsible for anticipating when the magazine of unexposed film is about to run out so they can feed a new roll of film in the camera, to create a seamless workflow.
- This person does exactly what the job title suggests, operates the camera. This can be a film camera, a digital camera or on a studio camera. On a studio camera, the camera operator is generally following a specific camera script, meaning a predetermined shot list. On location shoots using film or digital cameras are more likely to deviate from the shot list.
- This person supports the casting director in selecting all speaking roles on a film through the auditioning process. The casting associate assists the casting director in realizing the vision of talent as seen by the director and writers of the film.
- This person handles all the logistics for auditions and callback sessions for an upcoming shoot. The casting coordinator reports to the casting director.
- Similar to the casting associate, this person supports the casting director. A casting director assistant provides administrative and logistical work in the casting office. Casting offices usually are small in terms of their staff.
- Commonly referred to as the CD, this person is in charge of casting all the roles for a film, with the exception of lead attachments that have been predetermined to the casting process. The CD oversees all audition and callback sessions. They work with the producers and director to figure out who exactly fits the overall vision of the film in regard to casting.
- This person communicates with various talent agencies in order to get referrals for roles in an upcoming film.
- This person provides the big meals on a film set. Catering companies provide hot meals (breakfast, lunch and dinner) and they often serve their food via huge trucks. They often provide equipment such as fridges, ovens, gas, water and extraction fans to each unit base of a film. The other snacks on a film are usually provided by craft service.
- This person is hired when there is dancing in a scene that requires specific choreography. A choreographer has to have a strong background in dance and an ability to teach choreography quickly to non-dancers.
- This person provides the color of the film, in realizing the overall vision of the director. This part of the process happens in post-production once the editor and assistant editors have locked down the timeline of the film.
- This person writes the music of the film and creates this based on the overall vision of the production as set forth by the writer and director. They not only compose the music but also often have to perform it and arrange it. The producers and director then work with the composer to rearrange as necessary in the post-production process.
- This person works in post-production and provides additional layering to an image in the editing process. Compositors are highly used in animation, mostly 2D animation. But compositors need to understand CGI and 3D world building as they often have to work in tandem with those artists.
- This person works in tandem with the writer and art director to create drawings the give the film its visual backbone. The concept artist sketches images that reflect the ideas discussed for the film and often has to re-sketch new ideas on short deadlines.
- This person oversees the construction of sets and stages for a film. They report to the production designer and provide the execution of the set design, from planning, ordering, building, and finalization. Construction managers have riggers, carpenters, and plasterers working for them to make this happen on schedule, on budget and true to the vision of the production designer.
- This person is in charge of costuming the entire film. In pre-production, the costume designer works with the director and producers in planning the overall look of the costuming as part of the overall vision of the film. If the film is set in an older time period (a period piece) the costume designer has to bring an expertise of the clothing of that time. They have to work within the film's budget and timeline to achieve the look they need and provide a sense of continuity. They often have to design their own clothes or purchase or acquire clothing from various vendors and sources. Costume designers staff their own department with assistants, seamsters and tailors.
- Commonly referred to as a costumer, this person reports to the costume designer and assists with the designing process whether it be researching wardrobe, ordering materials or full costumes, and making alterations. The costumer often fits and dresses the actors. This person assists the costume designer in maintaining the continuity of the wardrobe of the film.
- This person is available to all departments on set to ensure the personnel are adequately fed with snacks in-between hot meals and also help out with cleaning the set.
- This person makes body parts, masks, and full practical creatures in a film.
- This person transfers the raw footage from a camera or digital data from a digital camera to the editor, ensuring there is no data loss or damage. With digital data, the data wrangler transfers the data onto a hard drive. This person also tracks who has received copies of the footage/data.
- This person sources the material or develops the concept with the writers of the film. They push the concept at pre-production, looking to persuade interested parties to get involved with the film, whether it be financiers, producers, co-producers, talent, or directors. They are often responsible for securing the rights on the film. Development executives sometimes take a producing role once the film goes into production.
- This person works with actors on their diction, accent or any inflections they need to authenticate their roles.
- Commonly referred to as the HD technician, this person supports the DP in ensuring quality control of the visual images of a digitally shot film. They provide color correction, image manipulation, production continuity, troubleshooting and overall assisting in the shooting of the film.
- This person is the captain of the ship. The director takes the script, finds a specific vision for that story and enlists all departments to realize that vision. The director is the connector between creative, technical, and production teams. The director leads the way from pre-production through post production, overseeing casting, re-writes, shot selection, shot composition, sound, all while trying to stay on schedule and budget to keep the producers happy. The director is the primary point of contact when actors are in a scene and is the only person to give the actors direct notes. They often assume producing responsibilities as well.
- More commonly referred to as the DP, this person runs the camera department. They come up with a visual plan to realize the vision of the director and utilize the personnel in their department to make this happen. They come up with an equipment list, work with the AD on the shot list and are in charge of the quality and continuity of the filmed visuals.
- This person supports the director from an administrative standpoint, working closely with them throughout the entire filmmaking process. This person helps with day-to-day communication, whether it be email or by phone. They also help with interviewing, drafting letters, script coverage, planning events, arranging meetings, liaising between the production office and set and liaising between production and post-production as per the director. In general, they serve as the director's other right hand for all things not related to AD work.
- This person works at a distribution company and oversees the distribution of the film to exhibitors (theaters, online) as well as DVD, Blu Ray and any other available formats.
- More commonly referred to as a re-recording mixer, this person is responsible for the final soundtrack which includes: dialogue, ADR, foley sound effects, music and atmosphere. They ensure the quality of the audio both tonally and stylistically are acceptable for the final cut of the film through volume positioning and leveling. This position is part of the audio post-production team but often re-recording mixers are freelance artists.
- This person creates the DVD and Blu Ray discs that the film goes on, ensuring the respective discs will play on DVD Blu Ray players. This person must have the appropriate software to program the interactive elements (ie. menu, play/rew/ff/stop buttons, subtitles, chapters) on the disc so the user can play them.
- This person assembles all the footage/data of the film into a timeline on editing software. An editor works with the images, the score, the sound, and graphics to translate what was captured on film or on digital into a fully realized story. An editor can often transform scenes that didn't quite work on set into great storytelling on screen. An editor also has a clear plan of how to cut the film in a way that honors the overall vision of the director. Editors report to the director and producers in post production.
- This person is usually a grip who handles and is in charge of electrical equipment on set.
- More commonly referred to as the EP, this person serves as the liaison between the producers and the studio, financiers and distributors depending on who is involved. This person oversees the completion of the film, responsible for the project to be finished on time and on budget and as proposed. Executive producers often secure a big part of the financing and sometimes secure the rights to the film. The EP on bigger productions can serve as the film company's CEO.
- This person helps with logistical needs such as accommodations, permits, crews, equipment and talent when a film is being shot abroad.
- This person creates the sounds you hear of a film that is not dialogue, ie. sound of shoes walking over fall leaves.
- Also referred to as a food dresser, this person makes food look good in a scene using various products such as sprays and paints.
- This person is the head of the lighting and electrical department, reporting to the DP. The gaffer comes up with a plan for the lighting of the entire film to support the overall vision of the director. A gaffer can be credited or more formally referred to as the chief lighting technician or CLT.
- This person creates the design of the titles in the opening title sequences and the credits. They also design the captions. They have to pick a font that represents the overall vision of the director and the story being told. Graphics designers are often freelance.
- This person builds and maintains all equipment pertaining to camera and electric. Examples of equipment: jibs, dollies, cranes, tracks, rigs, tripods, and c-stands. Every camera used requires a lot of equipment that needs to be set up correctly and monitored throughout the shooting process to ensure production quality and safety.
- This person is working closely with talent, prepping their scalp for any complex hair pieces, extensions or wigs. They collaborate with the hair and makeup department to ensure continuity of the actors' hair throughout the film.
- This person operates the jib or crane on set, a role that requires a very specific skillset. Maneuvering such heavy equipment on beat, keeping the film on schedule requires a large amount of strength, focus and precision.
- This person is the head grip and will fill in as back up for the construction coordinator as needed. The key grip is the first point of contact to the camera crew when they need assistance, such as moving a dolly. The key grip works closely with the gaffer and the rest of electrical.
- More commonly referred to as LD, this person helps create the look of the film by analyzing the screenplay. The LD works with the director, set designer and art director to achieve the right interpretation of the story through lighting.
- This person is brought on immediately to the project as they manage the budget of the film, literally line by line. To ensure that the budget is on track, they also are involved in day-to-day physical production in terms of making choices as to what can be purchased. This role has some overlap with the responsibilities of a unit production manager.
- This person is responsible for loading film into a camera or sd cards into a digital camera. They also run the clapboard before and sometimes after shots to synchronize the visual and audio components of a shot.
- This person is oversees the managing of locations for the film. The location manager helps decide where every scene will be shot and the logistics of making that happen. They are the point of contact during the shoot if anything goes awry at a particular location, not anticipated or known on the location scout.
- This person reports directly to the location manager and finds choices of possible locations for the film to be shot. A location scout performs a location scout, looking at various options to present to production. The location scout has to keep in mind potential shooting obstacles such as lighting, sound, permits, background visuals and weather.
- This person reports directly to the chief makeup artist. The makeup artist has a plan for the talent they are applying makeup to, in order to serve the overall vision of the chief makeup artist, which serves the overall vision of the director. If the film is set in a particular period (a period piece) the makeup needs to reflect that time. If a character ages, either moderately or severely, the makeup artist has to be able to make that look believable. Makeup artists also have to provide blood and gore when needed, working with visual effects. They will also work with a mechanical effects artist to apply prosthetics to a creature or horror villain.
- This person reports to the marketing director mostly in an administrative role. This person helps with the overall marketing strategy of the film. The marketing assistant is often scheduling meetings, researching target markets, and following potential sale prospects.
- This person will devise a marketing campaign for the film. This includes event planning, public relations, brainstorming and executing the creation of associated products, distribution strategy, sponsorships and market research. The marketing executive may run a focus group to test a sample audience's reaction to a film. This can factor into the studio's decision to make editorial changes to the film before releasing it.
- More commonly referred to as an underwater DP, this person is hired in pre-production to provide underwater filming and underwater stunts. This is a highly specialized role as the filming and stunts can be extremely tricky and potentially dangerous.
- This person makes artwork for a shot, often in the background, which is created using optical printing or via a matte shot. Traditional matte painters actually create the background for film. Now, most matte painting is done digitally in post- production.
- This person works on set to provide practical effects such as a scale model, mechanized props, pyrotechnics and general scenery. A break away door and explosions are two examples. A mechanical effects artist can also work with makeup to create a creature or horror villain using prosthetics.
- This person applies graphics that move in post-production. For example, a motion graphic artist can create movement in titles or credits. If signage or any other typography can't be manipulated on the shoot, a motion graphics artist can create movement with it in the editing process.
- This person assists the editor in realizing their vision of the film through music. The music editor works under the composer and the director to achieve a specific musical tone throughout the film. The music editor helps with figuring out placement, frequency and how present the music is in each scene.
- This person liaises between the composer and their personnel and production. The music supervisor is responsible for logistics of recordings, the hiring of needed personnel, and scheduling to ensure delivery of music goes according to plan. They also are in charge of sourcing music and obtaining rights.
- This person assists the on set audio team, keeping track of and organizing equipment, and grabbing gear as needed.
- This person lays down the composition of all the music recorded for the film. The musical arranger assists the composer in arranging all the voices and instruments of the score.
- Films, as per union rules, generally require a paramedic on set for specific types of scenes. For scenes that require stunts, more personnel (nurses and medics) or paramedics with specific certifications may be required.
- Films sometimes have on set masseuses available to the crew and talent as requested and needed.
- More commonly referred to as a PA, this person is responsible for a variety of tasks such as grabbing odds and ends, blocking traffic or foot traffic from disrupting a scene, running errands, or getting snacks for individual people. Sometimes, a set PA is assigned to an individual actor tending to whatever needs they have and accompanying them from their trailer to set. Office PA's, serve the needs of the production office sometimes completely separate to set. An office PA can be sent out for breakfast and lunch for the post-production team meanwhile production is on set shooting, being taken care of by craft services and catering. An office PA may sent out on runs to stock the office with supplies or to pick up/drop offs hard drives. PA's in general are utilized to fill in the gaps as needed.
- Much like the director's assistant, many of the higher level roles on production (such as actors, producers, writers) will have personal assistants to help them with day-to-day tasks such as keeping track of their schedule, handling communication/correspondence, running errands or paying vendors.
- This person is the key head of the editorial department, responsible for laying down the picture (visual images) that have been shot into a cut, finalized timeline. The picture editor oversees all the first assistant editors and second assistant editors, manning the crew that is there to translate the director and DP's work on set into a finished product. Once the timeline is picture locked, the picture editor hands it off to the post sound department.
- This person oversees the editing, dubbing and post sound production to finalize the film.
- This person oversees scheduling of post-production on a film, coordinating elements such as ADR, coloring, sound design to ensure the final delivery of the film. This person is also in charge of paperwork such as accounting and post-production forms with technical specs for the final version of the film. The post-production coordinator handles the storage of the film, offline editorial elements and the master audio file. The post-production coordinator reports to the post-production supervisor.
- This person oversees the entire post-production process. The post-production supervisor handles the hiring of all needed personnel for this department to ensure the delivery of the final film is met on time and on budget. This person is the medial point of contact for the producer, editor, supervising sound editor and all post suppliers such as CGI studios and film labs and accounting.
- This person oversees the entire completion of the film from pre-production through post-production. The producer works with the line producer on the budget and then hires the personnel that they need, including the director. While the director leads the production to realize a creative vision, the producer executes the overall making of the film. The producer helps with development, fundraising money for the film, is present on set to help manage and put out fires and secures distribution. Anything related to schedule and budget ultimately relates back to the producer. The film as a finished, viable product ultimately is on the producer's shoulders whereas the creative specifics within the film are the director's responsibility.
- This person manages the finances and accounting of the film during production. They oversee payroll, scheduling and financial reporting related to the film. Some of a production accountant's specific tasks can include: costing productions, calculating finances, communication with financiers, and manning cash flow.
- This person supports a production manager or production supervisor in handling the business, the budget and the staffing of a film. A production coordinator is there to help out with whatever needs come up to ensure a smooth running of production.
- This person oversees the financials, business and employment of a film. The production manager decides how the budget is spent.
- This person handles the sound recording of the film, overseeing the boom mic operator and any sound assistants in their department.
- This person is the key contact for planning, securing and allocating resources for a successful production. The project manager sets key goals and objectives to ensure a smoothly run shoot.
- This person handles the construction of any props that have not been sourced and purchased. The prop maker reports to the prop master to create any necessary props either in advance or on the spot. Some examples of props are replicas, stunt props and many other small items.
- This person oversees the property department. The prop master sources, acquires, purchases and maintains all the props needed for the film. They have to work with the director and art department to ensure they are adding all the necessary items to fulfill the director's vision of the film, while doing in on budget. Much like makeup, wardrobe and set design, props need to reflect visually the set time period of the film.
- This person sets, hangs and focuses various lighting equipment. A rigger may have to build scaffolding to hold heavy lighting gear.
- This person is similar to a matte artist. A rotoscope artist creates outlines and mattes to be integrated into the shot footage. A rotoscope artist now uses computer based programs to create these mattes and outlines, and is part of the visual effects team.
- This person operates the truck that carries the transmission equipment.
- Commonly referred to as the scripty, this person is charge of the visual and audio continuity of the film. The scripty uses specific software to take note of every shot to ensure actors make the same movements or say the same lines to ensure the footage will cut together in the edit.
- This person is the director of the second unit which is the department that handles the secondary scenes, such as background scenes, inserts or scenery.
- This person reports to the art director and PD who hire a set constructor to bring their combined visions to life. Set construction is in charge of maintaining the integrity of the structures built by the construction department.
- This person adds to a set by furnishing it. Anything from a lamp to a blanket to an eating utensil to a car or a pet, the set dresser adds in the smaller elements of a set that put the finishing touches on the entire vision of the art department.
- This person paints the backdrops of a set. This person reports to the PD and has a keen artistic eye and skillset, usually with a specific art background.
- This person creates signage needed for a set. A sign writer is hired by the PD.
- This person assists the sound mixer and boom mic operator with whatever they need on set. The sound assistant is in charge of keeping track of all equipment such as microphones and batteries. On larger productions, a sound assistant can be utilized to run a second boom microphone.
- This person is in charge of the sound of the film. They come up with their own vision for the sound of the film in support of the overall vision of the director. They often supervise the entire post sound production process.
- This person creates the soundtrack by synching and editing the visuals and sound elements together. A sound editor works under the sound designer to realize their vision. A sound editor has to work with production sound, wild lines, dialogue, foley and library sound to create the final soundtrack.
- This person is responsible to record the sound on set.
- This person creates special effects in a film in post-production. A special effects artist reports to the special effects supervisor.
- This person provides special effects editing in post-production and reports to the special effects supervisor.
- This person is a highly specialized camera operator who has a deft hand and can carry heavy weight. A steadicam operator handles the steady cam which is usually strapped to their body via a shoulder rig.
- This person is heavily involved in 3d productions. A stereographer focuses on the relationship between interaxial, convergence and focal length.
- This person documents the making of a film through stills. The stills photographer provides photos that are used for publicity and marketing. A stills photographer is there to capture candid moments as a fly-on-the-wall view of the production. They are also sometimes asked to set up studio shots of the principal cast.
- This person takes a screenplay and illustrates the characters into what looks like a comic book. This helps the director visualize the characters that the actors will be playing. This also serves as a guide for the art department when creating an overall vision for the film.
- This person organizes and arranges for all the stunts in the film. The stunt coordinator provides stunt choreography as well.
- This person provides any stunt driving that is needed in the film.
- This person helps with directing or stopping traffic while crew and other cars are entering or exiting set.
- This person transcribes exactly what was said in the scenes that were shot.
- This person is a key transportation manager that is assigned by the transportation coordinator to take cast and crew from basecamp to set.
- This person oversees all transportation needed for the film. They employ personnel as needed to assist with transportation management.
- This person reports to the transportation coordinator and transports various people involved with the production to and from set. A transportation manager will help with organizing and planning transportation needs as well.
- This person book and manages all travel related to the film for each department. This includes local travel planning as well.
- This is an executive who runs a particular unit on a film and is hired by a senior producer. A unit manager can only work on one film at a time.
- This person helps by filling in the gaps, running errands, grabbing gear or performing any manual tasks that are needed by any department.
- This person reports to the VFX Supervisor and mans the visual effects of specific scenes and sequences. This person is also responsible for FTP and shipping of the final cut of the film.
- This person is responsible for the overall visual effects of the film. They are on set making sure everything visually looks good and is prepped for finishing in post production. They hire visual effects artists such as matte painters and rotoscope artists to add in what is needed in post to alter the original footage. A VFX Supervisor is in charge of staying on budget and on time for delivering the visual effects of a film.
- This person is an actor that provides a voice that is not recorded as dialogue on camera. Voiceover is often used as a narrative guide throughout the script, sometimes planned and other times added in later for story clarification.
- This person creates the story that is shot in production through screenwriting. The writer works with the development executive to fine tune the overall story and then executes the writing of the script in specific screenwriting software. The writer is often asked to do rewrites and is often expected to be on set throughout production for last minute changes and consultations.
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Hempfield student thanks doctors who saved her life
Katelyn Elliot badly injured in October car crash
There was an emotional reunion at Lancaster General Hospital Monday as a trauma patient who nearly died returned to thank the team of doctors who saved her life.
Katelyn Elliot was badly injured in an October car crash.
The Hempfield High School student suffered a traumatic head injury, and doctors were worried at one point that she was brain dead.
Elliot walked into the hospital Monday morning to see the trauma team who treated her that night. She calls what the doctors did "a miracle."
"Just to see them and be able to say thank you for saving my life. They gave me a second chance at life and I don't intend to put that aside. I intend to use it to the fullest," Elliot said.
"To see a young lady like her with such poise and presence come back and say thank you, it just warms the cockles of my heart. I am just excited to see it," Dr. Frederick Rogers said.
Elliot's parents also thanked the doctors and gave them T-shirts to show their appreciation.
Elliot is a junior firefighter and EMT. As she continues her recovery, she hopes to get back on the fire engine and volleyball court soon.

subset: commoncrawl


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LETTER- Dr. Hong will be missed
Even though Dr. John Hong is, regrettably, leaving our community soon, I certainly hope his column will be continued in your publication. It is refreshing to read piece every week that is so informative, amusing, and somewhat self-revelatory.
His contribution to the Hook would be much missed if it did not continue.
Dr Hong is my personal physician and a friend. His professionalism, sense of perspective, and loyalty are much to be admired. It is a shame that he and Dr. Chris Zitnay have chosen to leave Charlottesville. Their departure will leave a huge hole in the medical, social, and charitable realms of the region. They brought a lot to the party in these areas. They will be much missed.
Gare Galbraith
The column will live on after the Doc moves away.–editor.


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According to the popular song, �Love makes the world go around.� Wrong. In today�s America, it�s PC.
Those initials stand for �politically correct,� a behavioral mode generally rooted in the �progressive� (aka liberal) mindset. It is hard to define and even harder to expunge. It may be political but it is certainly not correct. It doesn�t hit suddenly but spreads like a malignant tumor. Once metastasized in society�s body and soul, the results can be devastating.
Among the various ingredients of PC are herd-instinct, mindlessness, hypocrisy, sanctimony and willingness to embrace group thinking. It is impossible to determine what or who sets the PC agenda, but it keeps changing. These days it includes glorifying illegal immigration, promoting radical gay-rights issues and targeting various �phobias� that pop up in the PC dictionary.
Islamophobia was born after people objected to locating a mosque near Ground Zero in Manhattan, where Islamic terrorists killed 3,000 people. Those siding with the fast-food chain Chick-fil-A during a recent controversy created by the owner�s opposition to same-sex marriage were accused of homophobia.
PC ruled the day when TV shock jock Don Imus was chased off the air for insulting members of the Rutgers University women�s basketball team, and again when some Duke University lacrosse players were falsely accused of raping a prostitute. Al Sharpton and Jesse Jackson helped turn both cases into major racial scandals. Another time, a Boston radio talk show host was fired for calling an openly gay and rather full-figured gubernatorial candidate a �fat lesbian.�
Former Harvard University President Lawrence H. Summers was hounded from office for suggesting at an academic symposium that �women might not have the same intrinsic aptitude in sciences� as men. The executive director of the Worcester Youth Center was forced to resign for repeating the dreaded �n� word young black men were routinely using in her presence. A Leominster police officer was recently fired for using the �m� word, which the Web-based Urban Dictionary defines as racially charged, even though no one is familiar with that expression.
Celebrating illegal immigration is a fashionable PC cause. It all started with the cynical strategy of purposely blurring the fundamental distinction between immigrants who are in the country legally and undocumented aliens. Lumping both groups together into one �immigrant community� aims to remove the stigma of lawbreaking.
When journalist Antonio Vargas spoke at Worcester State University last year, the event turned into the celebration of illegal status. A member of a Washington Post team of reporters that won a Pulitzer Prize, Mr. Vargas rose to fame after proudly disclosing that he has been in the United States illegally. His words inspired others in the audience to declare that they, too, were undocumented aliens.
In June, President Obama opened the door to what amounts to an amnesty for 2 million illegal immigrants who meet certain conditions. He ordered Immigration and Customs Enforcement to refrain from deporting persons younger than 31 who were brought to the United States before age 16, are enrolled in school or honorably discharged from U.S. Armed Forces, and have not been charged with major crimes. By using presidential decree instead of congressional action, Mr. Obama clearly overstepped his constitutional authority. That he had done so to seek favor with Hispanic voters and the immigration lobby makes it even worse.
Earlier this month, Hampshire College, a small liberal arts school in Central Massachusetts, announced the establishment of a scholarship fund to help illegal immigrants get degrees. It�s the first such program in the region. Some states treat illegal immigrants as international students and charge them hefty out-of-state tuition. An estimated 65,000 illegal immigrants graduate from American high schools each year, and about 5 to 10 percent apply for college admission.
Gov. Deval Patrick has earned his PC stripes by being kind to illegal immigrants. He has kept Massachusetts out of the Secure Communities Initiative, a state and federal partnership designed to protect the public against illegal aliens who have committed serious crimes. He refused to allow state police to interrogate arrestees about their immigration status. He even rescinded a provision by his predecessor, Mitt Romney, to assign state troopers to a federal program that trains police to enforce immigration laws.
PC absurdity has reached its zenith with the above-mentioned Chick-fil-A scandal that erupted when Dan Cathy, president of the family-owned restaurant chain, told a Baptist publication: �We�re very much supportive of the family � the Biblical definition of the family unit.� Appearing on a devotional radio program, he said: �I think we�re inviting God�s judgment on our nation when we shake our fist at him and say we know better than you what constitutes a marriage.�
The mayors of Boston and Chicago, along with other politicians, threatened to keep the chicken sandwich chain out of their communities, even though they had no legal right to do so.
The PC phenomenon deserves attention. While currently not imposed by decree or enforced by government, it spreads through acceptance and compliance. It is the kind of voluntary participation that led people to some of the worst crimes of the 20th century.
Robert Z. Nemeth�s column appears regularly in the Sunday Telegram.


text: Faxes: downloading as TIFF File instead of PDF Hi, I received two faxes. Logged into my RingCentral account to view the fax. When I click on the icon to open the fax, it does not ope... Carolina Ballestas, 5 years ago Last reply: mamerica, 1 year ago 9 9 me toos 10 10 replies Question Answered


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I'm still in doubt if it's worth going to the DevDays in Amsterdam, but since I'm not a programmer I have no idea if it's actually of any use.
Since I won't be able to "use" anything they would talk about.
So my question is: is it any use going to the DevDays if you're not a programmer?


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The Motor and Phase Rotation Tester permits the electrical contractor
or industrial maintenance electrician to permanently connect and tape
the terminals of the motor being installed, without having to first
energize the motor by a temporary hookup from a power source, if available,
to determine motor rotation. Therefore, the test set eliminates the need
for temporary connections that can be time consuming, costly and quite
hazardous, particularly where many large, high-voltage motors are involved.
Also, certain types of drives should never be rotated in the wrong direction.
In such cases, the temporary hookup or trial method, having a fifty-fifty
chance of being wrong, can do serious harm.
The three motor leads on the left side of the test set are for attachment
to the terminals of the motor being tested for rotation determination.
Fuses are inserted in the motor A and C test leads as protection in the
event the user accidentally touches these leads to an energized circuit.
These standard fuses are easily removed and replaced from their panel-mounted
The three lines leading to the right of the test set are for direct attachment
to energized ac power systems up to 600 volts to determine the system phase
sequence. A four-position switch selects the test to be made - system phase
sequence, motor rotation and transformer polarity. The selector switch
connects a D-size dry cell into the circuit when the rotation of a motor
or the polarity of a transformer is being checked. In the OFF position,
both the meter and the battery are disconnected from all circuits.
A push switch is connected in series with the battery and opens the circuit
during transformer polarity testing.
The dry cell is easily removed and replaced from its panel-mounted holder
by a coin-slot access cap. The dc zero-center ammeter indicates correct
or incorrect rotation or polarity by deflecting its pointer to the right
or left. A zero or null adjuster is provided for the ammeter.
Click here for Complete
MeterCenter is a National Distributor for Megger®, formally James G. Biddle Co. and AVO International
content copyright © 1999-2019, Lovelace Company, LLC
Megger® is a registered trademark of Megger
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Telephone: (480) 659-8351, Toll Free: (800) 230-6008, Fax: (480) 659-8361
Email: firstname.lastname@example.com
2046 West Peninsula Circle - Chandler, AZ 85248 USA
Telephone: (480) 659-8351, Toll Free: (800) 230-6008, Fax: (480) 659-8361
Email: firstname.lastname@example.com


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Big Brother 8 Monday
Ok...I know it is Monday. I didn't get to watch yesterday's episode because I was really tired so we will see what we can do!!
Dick has been amazing being the 'NEW' PuppetMaster. How the heck can one guy make everyone change their mind like that? Sorry Will Kirby...there is a new master in town. (I still love you Will!!!)
Dick and Daniele are getting closer...they just haven't been showing it on Tv. Everytime I see the two of them together I cry!!
Can you believe that they showed footage of Daniele's boyfriend and what he thinks of the whole situation? I think that is just messing with other people's life. What is he supposed to say. "I hate her and she is in big trouble!" Now come on...I thought that was pretty bad.
And Dustin put up Jen and Kail, what a surprise.
For all the girls who love Dick as much as I do I leave you with this pic from CBS.


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We Try the Whole Menu at Bryan Voltaggio's New Lunchbox in Frederick, MD
Bryan Voltaggio's new Lunchbox in Frederick, Maryland, takes over lunch service from his much pricier Volt on North Market Street, which will only be serving lunch on weekends starting in January. Lunchbox isn't fancy at all. It's located in a strip of shops along the new Carroll Creek Linear Park. One of the best parts about Voltaggio's new venture is the price: sandwiches cost between $4 and $5, salads are $4, and soups are $3.
But is it as good as his brother's sandwich shop ink.sack out in Los Angeles (where we also tried the whole menu)?
Walk in, stand in line, and peruse the menu board behind the counter. While you wait, you'll notice employees bringing trays of prepped sandwiches out of the kitchen that are ready to be pressed or toasted.
When Voltaggio sticks to the traditional preparations of sandwiches—like the Reuben, peanut butter and banana, even a grilled cheese—you're reminded of how good a simple sandwich can be done right. He adds small twists, like a sprinkling of salt and very finely chopped fresh herbs atop the grilled cheese. He uses overripe bananas in the PB&B that create a creamy, mouth-melty bite.
When he puts his own spin on other items—like the Pilgrim sandwich or the Caesar salad with a 63-degree hen egg—he misses what makes these classics a favorite in the first place.
In general, it's best to skip the salads. The Caesar and wedge suffered from flavor-less dressings and the vinaigrette on the Bibb lettuce was all vinegar and hardly any olive oil (total vinegar bomb). The soups were hit or miss. The hits included the roasted butternut squash and red onion, both homey and well-balanced. But the shiitake and split pea were unfortunate misses. The alphabet soup tasted slightly better than SpaghettiOs.
As for dessert, they keep it simple with cookies, oatmeal raisin and chocolate chip, that are tender inside, crisp on the outside, and not too sweet. The blondie and brownie had a great shiny crust but the insides taste like box mix. I like box mix just fine, but I expected more.
Lunchbox offers Mexican coke, Boylan sodas, Cheerwine, McCutcheon's sodas (a local brand that also makes my favorite peanut butter sandwich accompaniment, Black Raspberry Preserves), iced tea, and milk from nearby South Mountain Creamery.
In the last couple of years, Frederick has seen an influx of hip new restaurants. Many offer trendy, pricey dishes and extensive wine lists. While they certainly cater to the visitors antiquing or to locals who want something a little beyond the tavern burger, they don't seem to fit the slower vibe of Frederick itself.
Voltaggio, for the most part, tries to keep it simple, and when he does, he does it right. Lunchbox still has a small town feel in the up-and-coming Frederick food scene.
Check out the slideshow for everything we ate »
50 Carroll Creek Way, Frederick MD 21701 (map); 301-360-0580
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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1080 members2323 Comments 36 Likes
898 members1890 Comments 117 Likes
Christina Parker Brown has not received any gifts yet
Hi Christina,
I'm not sure if I sent you the info but the page is www.facebook.com/flightlessgoose. Thanks!
I hope you are having a great Earth day today, I know I'm excited, it is our first 70 degree day of the season here.... YAY
I would love to share some great Earth day freebies with you, please check out http://www.dazzlingdailydeals.com/2011/04/earth-day-freebies-tomorrow.html and please feel free to share this on your blog...(everybody loves FREE stuff)
while your there, please check out the rest of the great deals going on and if you would like to stay up on the latest news.... you can FOLLOW or even better "LIKE" me on facebook and you will get instant updates.
Thank you,
Welcome and hit there! Time is precious is to us all & this may all seem so overwhelming with every one vying for your attention. I hope your stay is awesome and if you happen to be a lady 5'4" and under & would love to read some fun articles geared towards every thing petite and then some, please come on over for a visit. We'd love to have you & also have a beautiful selection of petite shoes sizes 2 - 5 1/2.http://cinderellaofboston.blogspot.com
Hi there and welcome from The Girlz Korner in upstate New York where you'll find light, witty and rather entertaining articles on every topic imaginable from The Little Black Dress to Making Whoopie. We'd like to invite you to come over and showcase your products, services and blog for free to our thousands of visitors. So if you get a chance to kick back and exhale, if only for a brief moment, we'd love to have you. Don't be too overwhelmed by MBC. The ladies are awesome here and sooo embracing. Hope you enjoy your stay :)http://www.thegirlzkorner.com
Hello Christina
My name is Naomi and I just want to say hi and whenever you get a chance please check out my blog. If you choose to follow please leave me a comment, therefore I may follow you back.
Have a great day


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MTV Producer Gabriel Ben-Meir Killed: Two Suspects Held
Police Arrest Pair in Connection With Killings of Ben-Meir and Another Man.
May 12, 2011 -- A man and a woman are being held on suspicion of murder in the shotgun deaths of an MTV producer early Sunday morning and another man a week earlier.
Jabaar Vincent Thomas and Destiny Young were arrested Wednesday evening in connection with the killings of MTV music coordinator Gabriel Ben-Meir, 30, outside his home in Los Angeles' Mid-Wilshire district, and a second man in a separate incident, Det. Gus Villanueva, a Los Angeles police spokesman, told ABCNews.com Thursday.
The second victim, Marcello Aragon, 35, was shot multiple times with a shotgun on April 30 in the Pico-Union district of Los Angeles, ABC News Los Angeles affiliate KABC reported.
Thomas, 26, and Young, 29, likely will be charged with murder on Friday, Villanueva said.
Their arrests at 9 p.m. PT Wednesday were related to the arrest at 8 p.m. Wednesday of Richard Anderson, 33, in connection with a string of shotgun robberies, Villanueva added, though he would not reveal the nature of the relationship between the two cases.
Ben-Meir's wallet was missing, raising the possibility he was killed during a robbery, KABC reported. Police would not confirm the missing wallet to ABCNews.com.
Ben-Meir, who coordinated music for MTV shows including Ashton Kutcher's "Punk'd," was found face down, shot at least once in the back of the head, on the sidewalk outside his home early Sunday morning by a neighbor.
He had parked his BMW outside his apartment building and was shot just feet from his front door, police said.
The Los Angeles Police Department will reveal more about the case at a news conference Friday at 3:15 p.m., Villanueva said.
Thomas and Anderson were being held without bail at the 77th Regional Jail in Los Angeles, Villanueva said. Young was being held at the same location on $1 million bail.


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Teen bitten by poisonous snake at Reidsville friend's home
Friend has more than 10 venomous snakes
Charges are likely after an 18-year-old was bitten by a poisonous rattlesnake at his friend's home overnight Monday, Rockingham County deputies said.
Kameron Burgess of Ruffin was bit by a Canebrake Rattlesnake at a home on Auburn Street off Vance Street Extension west of Reidsville. Burgess was taken to Wake Forest Baptist Medical Center for treatment.
Burgess and a friend were returning the snake to its enclosure when Burgess was bit in the arm, deputies said. The friend, Kaleb Williamson, has a collection of nearly a dozen poisonous snakes at the home.
Charges are expected to be filed after the investigation concludes, deputies said. State wildlife officials have joined deputies and Rockingham County Animal Control in the investigation.
It's against state law to keep a Canebrake Rattlesnake as a pet without a permit, deputies said. It's also against the county's animal control ordinance to keep wild animals as pets.
Deputies are working with Williamson to move the venomous snakes out of Rockingham County to a facility that will care for them. State wildlife officials will likely seize the Canebrake Rattlesnake, which is native to some parts of North Carolina.
Other snakes in Williamson's collection include an Eyelash Viper, a Gaboon Viper, a Rhino Viper, a Brazilian Lance Head, a Mojave Desert Side Winder, a Puff Adder Viper, a Southern Copperhead, a Neotropical Rattlesnake, a Monocled Cobra and a Costa Rican Jumping Viper.


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Julio Vallejo is recovering at a friend's home in southern California after being treated for numerous injuries he suffered in Sunday's deadly bus crash in the mountains east of Los Angeles.
"This was the worst minutes of my life," Vallejo told NBC 7 San Diego in an exclusive interview.
Groggy from a long day sightseeing at Big Bear Lake, Vallejo was sleeping on the bus ride home when his friend told him to wake up.
U.S. & World
He recalls looking at his friend's terrified face and hearing, "the bus, I think there's something wrong, I think the bus don't have brakes."
The friend explained that as the bus approached a curve, passengers smelled smoke and heard a grinding sound when the bus driver pressed on the brakes.
But the bus wasn't slowing down.
Vallejo was seated in the last row of seats, which was perched a little higher than the others.
"I can see all the seats," he said. "All the people was praying."
Vallejo said people gripped each other tightly and many cried as the bus continued down the two-lane mountain road, gaining speed with every second.
For approximately five minutes, he said, the bus swayed left and right as the driver dodged cars and tried to keep the bus from crashing. The driver tried to avoid guardrails separating the road from steep cliffs.
At one point, desperate passengers screamed at the driver to stop the bus any way he could.
"Some people say, 'Crash with something, the rocks, with anything,'" he said.
Moments later the bus slammed into a car and then a truck, causing the bus to flip twice according to Vallejo.
He gripped the seat in front of him but quickly found himself tumbling with others like clothes in a dryer.
He was ejected through a window onto the roadway, landing on his hands knees and face.
"I touch my legs my arms, my head, and I say, 'Thank you, God,' because I'm alive," he said.
Vallejo suffered several bruises on his face and said he believes the people killed in the crash would still be alive today if the bus were equipped with seatbelts.
Right now, laws do not require large tour buses to have seatbelts. Vallejo said that needs to change


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Whether it be the bittersweet laments of 'Give My Love To Kevin' and 'Why Are You Being So Reasonable Now?', the introspective 'California', wistful 'Apres Ski' or simply delectable 'Boing', there really is something for everyone among the 300+ gems released to date bearing the Gedge hallmark.
Having initially formed The Wedding Present in Leeds way back in 1985, the band quickly gained critical acclaim thanks, in no small way, to their debut album 'George Best', and it wasn't to be long before commercial success followed. In 1992, The Wedding Present actually made the Guinness Book Of Records for having the most chart singles in one year (12 different singles in consecutive months over the course of a year). Several line up changes later, Gedge then disbanded The Wedding Present and formed Cinerama with partner Sally Murrell, and, albeit on a slightly smaller scale, further success followed. Since then, and having broken up with Murrell, he's reverted back to using the original band name, and with the recent 'Take Fountain' long player rolling back the years and lifting a few eyebrows, he's found himself back in the spotlight once more.
Go out and get 'em boy…
So, what was it that made you go back to using The Wedding Present name again?
To be honest, it's something that I've been thinking of doing for years really. I mean, this line up is essentially the final line up of Cinerama minus Sally, and we've always played the odd Wedding Present during Cinerama's live sets and we're doing the same here as The Wedding Present, so it made sense to merge the two together.
When you first started The Wedding Present back in the 80s, did you ever envisage that 20 years later you'd still be here, playing to sell-out crowds up and down the country?
Errm…I never really thought about it to be honest! It's weird because it doesn't feel like 20 years the way it's gone past. I was doing a radio interview in Germany last year and the DJ was asking us what we were going to be doing to celebrate our twentieth anniversary, and I was like "Give over! We haven't been going for that long, have we?" I guess if you had met me twenty years ago and asked me if I'd still be doing this in 2005 I'd have probably said "No way!", but here I am, so…
So what is it that keeps you going strong in making music?
I think I'm slightly obsessed by it to be honest! It's like, when I was younger I always wanted to either be a DJ or in a band, and now that I've done it I think I'm at the stage where I wouldn't know what else I'd be any good at! We're already planning ahead for next year's tour so I'm not thinking of packing it in just yet…
After the success of 'Take Fountain', are you writing new material for the follow-up?
No, we're not actually at the moment. This year we've been on tour since the turn of the year really, and unfortunately, I've never been one of those people who can write on tour. I'm really envious of those bands who've got portable studios in the back of their vans and can lay down songs and ideas in between shows, write the next album between the first and last date. We've never done that, right from the early days up until now. Funnily enough, we are coming up to a studio Sheffield at the end of this tour to record a couple of new songs for various tribute albums…
Who are you paying tribute to?
The first one is for Wreckless Eric. His most famous song was called 'Whole Wide World', and the idea for the compilation album was for a load of bands to just cover that one song, and it's called 'The Whole Wide World Of Wreckless Eric'. At the same time, we're also involved with a 'Pet Sounds' tribute album, and we're contributing 'Caroline No' to that record.
With over 300 songs to choose from, how do you manage to choose what to play and whittle it down into a 90 minute set?
To be honest, I just don't do it anymore! I let Simon (Cleave), our guitarist do it. I think he's better at doing it than me. He joined The Wedding Present in the mid-90s and stayed until I started Cinerama. I think he's got a different perspective to me on all of our stuff, so it's always quite interesting when we get a copy of the set list before a show. I mean, it is tempting just to fill the set with crowd pleasers, but to his credit he doesn't do that really. He always builds a strong set around a great beginning and end with various highs and lows in the middle. He's not pandered to what people expect us to play. It would be easy to close the show every night with 'Kennedy' and 'Brassneck' but we don't always go in for that.
If you were to put your favourite songs on that set list, what would they be?
That's the thing, it's really hard for me to say what my favourite songs are because I have different reasons for liking (and disliking) the songs at different times. 'Kennedy' is one of my least favourite Wedding Present songs. I think it's quite banal. We recorded it around the same time as the 'Bizarro' album stuff and I remember thinking at the time that it had 3rd track on the b-side of the next single written all over it! The rest of the band seemed to like it though, so it went out as an a-side and…I just think the lyrics are embarrassing now! I tried to write some fantastically profound song relating to the JF Kennedy assassination and…I struggled for weeks to get anything down that made any sense! I think my forte is writing about relationships really. In the set we're doing at the moment we're playing 'Nobody's Twisting Your Arm', which I hadn't played for the best part of those two decades because I always thought it sounded too "indie" but now it does sound really great. I think it's my favourite part of the set at the minute, probably because it's been so long since we actually played it. It's like a cover version now because it sounds much more…mean. I think the current line-up play it beter than the old band used to in the early days! We've tried dozens of songs to be honest and some, like 'Nobody's…' have sounded great, whereas others like 'What Did Your Last Servant Die Of?' from 'Gearge Best' sounded really terrible so we scrapped it.
Having played in numerous line-ups with both The Wedding Present and Cinerama, what would you say is the definitive line-up?
I think what's quite pleasing is that there is no definitive line-up. It's probably part of the strength of the group really and one of the main reasons why we're still here. People come and go and everyone has different ideas and inputs. I really hate it when certain bands just stick to a formula and just go on and on and on churning out the same thing over and over again, and then people will say that so-and-so were great with the "definitive line-up" when actually, they've had the same line-up regurgitating the same tunes for the past 25 years! 'George Best' and 'Bizarro' were quite similar but every album since then has been totally different from the last one.
Your third studio album 'Seamonsters' saw you work with Steve Albini on production duties while many of your contemporaries were trying to recreate The Stone Roses vibe of 1989. Do you look back at that now and think you may have been groundbreaking without getting much credit at the time, bearing in mind a lot of the lo-fi/noise pop that has crossed over into the mainstream since?
I do think we've suffered a lot by not getting that much credit but at the same time I don't really care about it too much. At the time I just loved what Steve Albini had done with 'Surfer Rosa' by the Pixies – which I still think is one of the best albums ever made – and I remember saying to the record company at the time that we have to get this bloke (Albini) for the next album. I think it was ahead of it's time in the way that vocals were sacrificed and a visceral guitar sound was at the forefront instead – certainly as far as anything ever released on a major label at any rate.
What made you release the 12 singles in 1992? Was there any pre-conceived masterplan whereby you thought that if this comes off, you'd end up in the Guinness Book Of Records?
We had a bit of a break after recording 'Seamonsters', and we had these songs left and we just thought, "what shall we do next?" Keith (Gregory, former bass player) came up with the idea of releasing 12 singles over the course of the coming year, and he wanted it to be similar to how both Rough Trade and Sub Pop had developed their singles club releases, and we all went away and thought about it and everyone came back 15 minutes later and was like, "Yeah! This is a fantastic idea!" It was the same with the b-sides. To us it seemed obvious to put a cover version on every single. The hardest people to convince were the record label. I think they were a bit surprised 12 months later how successful it actually was! The record breaking thing never really occurred to us at the time. When I look back at it now I think it's quite a cool thing to have done. I remember when we were putting the singles out we were quite nervous about meeting the deadlines so that every one came out at the start of each month. It was a bit stressful because we'd never had to be so organised and time conscious before.
Although you've retained a loyal hardcore fanbase over the years, it's probably fair to say that your profile is somewhat lower than it was during the 12 singles period. Does it bother you?
In some ways because I enjoyed having a high profile. I mean, I've never pandered to the idea of being Bono or anything, but if you get to a certain level you end up being able to play nice venues and the same goes with selling records. At the end of the day I have to earn a living.
How do you feel about file sharing sites and other internet related media whereby fans can download your songs for free?
Well it's a double edged sword really. On the one hand it is harder for a small record label to survive now and it is short sighted because without any money you can't afford to sign any bands and if you don't have any bands you can't put out any records – it's that simple. On the other hand, the same technology has made it easier for someone to be able to collect records and hear about new artists that they wouldn't necessarily have heard about anywhere else so…I guess overall I am one of those people who sees it as stealing.
So are there any new bands who are around now that remind you of yourselves 20 years ago?
I'm a big fan of Franz Ferdinand. I think their songs are pretty similar to some of ours in that they are obviously influenced by the same things – Josef K, The Fire Engines and that whole Postcard Records scene from 1980. I think the main difference is that they're a more poppy version of it from what we were.
In your earlier days The Wedding Present got a lot of overly positive press from the weeklies which possibly contributed to the band gaining a wider audience. Now that the NME is out on it's own do you think it holds the same level of importance and influence as it did back then?
I don't think they are now, no. It seems like they only feature the same five or six bands every week now and their policy seems to be more about making a style or fashion statement rather than concentrating on the music. It seems they are targeting a certain age group – a bit like Radio 1 in a way.
One of your biggest fans throughout your career and possibly the person responsible for most people first hearing your music was John Peel.
Yeah, I still can't believe he's gone to be honest. I still listen to the radio expecting him to be on there, which is kinda weird I guess but…he was inspirational for me and he did so much for both the Wedding Present and Cinerama. It upsets me more because he really was such a genuine, good bloke. There are so many people in this business who are very self orientated and use other people as their stepping stone to getting themselves known, but he really did care and genuinely wanted to buy records, which in my eyes is what a DJ is supposed to do.
I notice that you're not on the John Peel tribute single. Were you asked to do it?
That's a funny one that. We are on the album – the 'Best Of John Peel' double record thing – but we weren't invited to do the Buzzcocks song. I guess the people behind it felt that we weren't as relevant now as we used to be!


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Jimi Heseldan, the 62-year-old owner of the Segway Company, died yesterday when he accidentally drove one of the sucky two-wheeled gyroscope-controlled "future" transports off a cliff and into a river.
Heselden started out life as a miner in Britain before making millions in defense contracting and design with the money he saved from his severance package. Later in life he purchased the Segway company and, yesterday, he was patrolling the grounds of his North Yorkshire estate in one when it went off the trail and off a cliff into a river. He was pronounced dead at the scene.
We don't have a picture of Heselden on a Segway, so here's Paul Blart: Mall Cop falling off of one.
(Hat tip to everyone!)
Photo Credit: Tom Pennington/Getty Images


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Irrigation headaches
Of the problems that can occur in an irrigation system, those associated with sprinkler heads are the most noticeable to clients and the public. These problems are visually noticeable and manifest themselves in non-uniform green areas of the turf (donut patterns and dry spots), ponding water and misting and drifting that cause wet sidewalks and streets.
If these conditions exist on a landscape that you manage, the first thing you should do is evaluate your sprinkler heads. To do this, you need to figure out what type of sprinkler head your irrigation system uses. Most modern sprinkler systems include two types of heads: spray and rotary. The type of head used by your irrigation system depends on the dimensions of the area it is irrigating, water pressure available for operation and a variety of other factors.
Spray heads
Spray heads are what people commonly think of when they think of irrigation heads. These types of heads are uniformly spaced within an area and are used to irrigate lawns, shrubs and groundcover beds. The main difference between spray heads and other types of heads is their spacing. Although the spacing of spray heads can vary depending upon the specific nozzle the designer selected to use in the head, they are usually not spaced more than 15 feet apart. The majority of spray heads are "pop-ups," which are designed with the nozzle on the tip of a riser that can pop up 2 to 12 inches out of its housing during operation. When irrigation is complete, water pressure drops and the riser retracts to the soil line so that it is out of sight and does not interfere with mowing or normal use of the lawn. The 6- and 12-inch pop-ups are called "high pop-ups" and are used in shrub and groundcover beds as well as flowerbeds. You can also install spray heads in planting beds on fixed risers that do not pop up. You should base riser height on the projected height of the shrubs and plants to provide uniform application of water.
Rotary heads
Rotary heads are larger than spray heads and are usually used to irrigate larger areas including commercial property, parks, large lawns and sports fields. They can project water a distance of 20 to 50 feet or more. Like spray heads, rotary heads are available as pop-ups or fixed versions on risers. There are two types of rotary sprinklers: gear-driven and impact. The difference between them lies in the mechanism that causes them to rotate.
Impact rotors. Impact heads were originally developed for watering agricultural crops in the 1930s and have been used in landscape irrigation since the 1940s. A spring-loaded arm causes impact heads to rotate. As water flows from the outlet in the head, it triggers the arm to pivot away from the water stream until it hits a stopper attached to the head assembly. The spring causes tension in the arm, which then returns the arm to its original position, and the process starts again. The impact against the stopper causes the entire assembly, including the stream of water, to rotate slowly. The slow, continuous rotation of the assembly will slowly irrigate its designated area.
You can set up impact heads to irrigate in a full or part circle, depending on your needs. Just switch the lip or spring to reverse the rotation and cause the assembly to move backwards before it completes a full circle of revolution. This back-and-forth rotation allows you to get better use of a sprinkler in areas such as corners and along curbs and walks.
The coverage provided by impact-type rotors can be highly uniform. However, they also can be high maintenance. When you activate an impact sprinkler, it rises out of the head casing, exposing the open housing of the head. This open cavity is prone to catching mud, grass clippings and other debris. Therefore, it requires frequent maintenance to keep the housing and mechanisms clean, which is especially important in preventing damage to the assembly. Impact rotors also have many exposed, moving parts. The springs can be especially troublesome because clippings and twigs can become entangled in them. They are also easily bent, can fall off the assembly and are prone to rust. Another negative characteristic is their clatter during operation, which can be annoying to some people.
Gear-driven rotors: Gear-driven rotary sprinklers are used in most modern systems and are the most popular type of rotary head. Water turns a small turbine in the base of the unit, which drives a series of gears that cause the head to rotate. Unlike impact sprinklers, the drive mechanism is sealed from dirt and debris, quiet during operation and easy to adjust. However, because of their long throw of water, it's easy for inexperienced designers to misuse and misapply them. Although gear rotors cost more than spray heads, their wider spacing capability means that you'll need fewer heads to cover a given area. Consequently, landscapers frequently use them in spaces too small for efficient rotor operation in an attempt to reduce the number of heads, connections, trenching and labor costs. If you force a rotary sprinkler to cover an area too small for its intended design, you will get increased misting and inefficient coverage, especially if you have to adjust it below the manufacturer's specification.Sprinkler nozzles
Nozzles are the devices that disperse water onto the landscape as it passes through the head assembly. They control the amount of water being applied and the distance of throw. The amount of water distributed over an area can vary greatly depending on the nozzle selected.Assessing spray-head and rotor performance
Problems with spray heads and rotors can be caused by major system flaws resulting from poor overall design including improper zone layout, lack of proper overlap and disregard for available pressure and flow. It is more than likely, however, that the problems are non-system related. Fortunately, non-system-related problems are easier and less expensive to correct.
Non-system related problems that affect head performance include:
Heads that are too close to walks and pavements
Displaced heads that are sunken, offset or unstable in the soil
Improper installation and repairs (including keeping dirt and debris out of the system)
Normal head wear and tear
Incorrect arc adjustment
Obstructions such as turf and branches
Water quality including secondary water, well water and surface water from a pond or stream
Broken heads as a result of lawn mowing, edging or snowplowing, or from the roots of a growing and maturing tree or shrub.
Donut patterns and other dry spots could be the result of a number of problems associated with heads, including non-compatible heads in the same zone, lack of proper overlap, basic nozzle or arc adjustment and obstructions caused by turf, plants or structures.
Misting and drift is caused by high pressure at the sprinkler nozzle that results in the breakup of spray into a fine, atomized mist that sometimes looks like fog. The presence of misting is an indication that you should make adjustments to increase the size of droplets by either regulating pressure or changing the type of head or nozzle.
Spitting, lack of discharge and general poor head performance is probably an indication of clogged nozzles or partially closed valves resulting from low pressure. Debris in the nozzle can misdirect the spray and result in partial spray patterns or even a complete plugging. You should carefully remove debris in nozzles. Digging or gouging could permanently change the spray pattern. Clean nozzles with air, water or a soft-bristled brush, such as a pipe cleaner. Using a wire or a screwdriver can permanently scratch the nozzle and misshape the orifices.
Rotation flaws are likely an indication of:
Debris in the sprinkler head
Pressure that is too low or high
Flow that is too low
A damaged head
Normal wear and tear
Oversized nozzles
Improperly adjusted flow-control valve
Vegetation obstructions
A bypass in need of adjustment
Foreign lubricants.
Excessively rapid rotation of rotary heads is likely an indication that the pressure is too high and you need to regulate it.
Damaged heads could be the result of vandalism, poor head location, pressure problems, normal wear and tear or poor maintenance procedures.
Runoff, ponding and soggy turf could be signs of major problems unrelated to the system or heads. There are a number of reasons these conditions exist including grading problems, compacted soils, an improper watering schedule, system drainage to a low head or valve problems. However, if the problem is associated with spray heads and rotors, these could be the causes:
Improper head layout and location
Head rotation problems
Leaking or stuck sprinkler
Improperly adjusted arc
Cracked housing
Non-compatible heads in the same zone.
The following is a list of the most common irrigation mistakes that pertain to using and maintaining spray heads and rotors. Correcting them is generally simple and inexpensive and could reduce your operating costs.
Adjusting or reducing the throwing distance of nozzles more than 25 percent of the manufacturer's specifications. Besides violating the manufacturer's specifications and warranty, this adjustment will produce an uneven precipitation, wasting water and increasing operation costs.
Disregarding significant overspray. Overspray wastes water, is irritating and leaves a negative impression with the public. Liability is also an issue with overspray because it can be potentially hazardous to pedestrians and motorists and can deteriorate pavements, curbs and other structures.
Exceeding the manufacturer's specified head-to-head spacing. Space heads at a distance equal to the selected nozzle's throwing distance at working pressure as listed in the manufacturer's catalog. In the end, using a greater distance between heads will cost clients more in operating costs than can be saved during installation.
Installing different types of irrigation heads on the same zone. The precipitation rate for different types of components varies greatly. If you install heads with a lower precipitation rate in a zone with heads that have a higher rate, they will not apply water uniformly and dry spots will occur. Also, you will have to run sprinklers in these zones longer in order to apply enough water to irrigate the dry spots. This will result in wasted water, higher water and energy bills for the client and increased wear on the system — all without necessarily correcting the non-uniform appearance of the lawn.
Installing heads on risers next to pedestrian areas. Heads on fixed risers next to sidewalks, plazas and play areas can be a danger. A person or pet could fall on one of these hazards, causing injury or death. If you routinely incorporate these in your systems, you should notify your insurance agent to make sure you have sufficient liability coverage to protect yourself and business should an accident occur.
Using incorrect nozzle patterns for the area you are watering. Irrigation manufacturers make their spray nozzles in several part-circle patterns that throw water a maximum distance ranging from 8 to 15 feet. A professional irrigation designer will only use nozzles that have the correct pattern and distance required for an area. Using the incorrect pattern and throwing distance will, over time, waste a considerable amount of water and significantly increase operating costs.
Using nozzles within zones that have mismatched precipitation rates. Many landscapers assume that, in order to water an area evenly with rotor heads, they need to use the same GPM nozzles in every head. However, manufacturers make different GPM nozzles resulting in more flexibility for you. Save water used in a zone by proportionally matching the precipitation rate of the nozzles.Make sure you've got it covered
As professionals, you know that maintaining a system for uniform coverage in the most efficient and cost-effective manner requires a broader knowledge of system pieces and parts than just the heads. It also requires skilled knowledge in the art, science, engineering and management of irrigation components in general. You cannot assess major system or zonal problems without looking at the system as a whole. You can quickly tell if a system is professionally designed, installed and maintained or if the work is a result of inexperience or indifference. The performance of a system depends on the integrity of its design, installation and maintenance. When any of these three components is compromised, so is the performance of the system and overall system durability.
Phil Jeselnik is a senior staff designer and project manager for Jeffrey L. Bruce & Company, L.L.C. (Kansas City, Mo.), which specializes in landscape architecture and irrigation system design. You can e-mail him at firstname.lastname@example.com.
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Raising backyard poultry is a growing trend across the United States. It is very important for all backyard poultry owners to know the signs of two deadly poultry diseases, as well as the basic "biosecurity" steps you can take to protect your birds. APHIS runs the Biosecurity for Birds campaign to help raise awareness among backyard, hobby and pet bird owners.
Biosecurity is the key to keeping your poultry healthy. "Bio" refers to life, and "security" indicates protection. By following good biosecurity practices, you can reduce the chances of an infectious disease being carried to your farm, your backyard, your aviary, or your pet birds, by people, animals, equipment, or vehicles, either accidentally or on purpose.
Biosecurity means:
By following good biosecurity, you decrease the risk of END and AI on poultry farms; loss of export markets, public concern, and cancellation of poultry shows, auctions, fairs, and exhibits as a result of disease outbreaks; and quarantines resulting in financial losses due to disease outbreaks.
Latest News and Events:
Watch Healthy Harry and Dr. Kate's videos to get important tips to keep your birds healthy and safe.
More Videos


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HI-Performance Fuel Injector Fits Polaris Sportsman 360cc (2)(360cc)
Flow Rate: 360cc
Quantity: 2
Manufacturer Part Number: T-117
Brand: TLF Performance Parts
OEM Brand: Bosch
Product Details
High Performance Fuel Injectors Fits Polaris Sportsman 360cc (Flow Rate = 360cc). Set of (2) Flow Matched Fuel Injectors Remanufactured by TLF Performance Parts. (Fuel Injector Specifications) Condition: Remanufactured Comes with Flow Sheet Flow Rate in CC/LB per minute: @ 43.5 PSI or 3 BAR Resistance: Voltage: Amperage: Pressure: O-rings Included: YES TLF Performance Parts TLF-T-117 fuel injectors are available in the following Flow Rates: 440cc, 500cc, 550cc, 600cc, 660cc, 680cc, 720cc, 740cc, 20lb, 24lb, 30lb, 36lb, 42lb, 44lb, 48lb, 50lb, 52lb, 54lb, 56lb, 60lb, 64lb, 70lb, and 74lb,, and feature drop-in fitments for simple installation. They are designed to fit in the following vehicles: Cadillac 2006-07 CTS-V, Chevrolet 2005-13 Corvette, Chrysler 2005-14 300C, Dodge 2003-05 Neon, Dodge 2005-08 Magnum, Dodge 2008-09 Caliber, Jeep 2006-16 Grand Cherokee, Dodge 2003-15 Ram 1500/2500, Dodge 2006-15 Charger, Dodge 2008-15 Challenger, Ford 2005-17 Mustang GT, Ford 2007-12 Mustang Shelby GT500, Ford 2009-15 Mustang SVT Raptor, Ford 2013-14 Shelby GT500, Pontiac 2005-6 GTO. The purchaser of TLF Performance Parts fuel injectors receives a one-year warranty covering the remanufacture process, replaceable components, and performance. Our re-manufacturing process reclaims and recycles fuel injectors from many sources and were originally produced as OEM parts by various companies including Bosch, Denso, Delphi, Ford, GM, Jecs, Magneti Marelli, Nikki, Nissan, Rochester, Siemen's-Deka, Weber-Marelli, and more. TLF Performance Parts High Performance Fuel Injectors have been modified to enable customized fuel flow rates while maintaining atomization of fuel particles. Notice to Buyers - TLF Performance Parts High Performance Fuel Injectors may require fuel system modification and/or ECU (Engine Control Unit) programming. The color and quantity of the TLF Performance Parts Fuel Injectors may be different than what is displayed.


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I've used several different vendors of antivirus software over the course of a few years: McAfee, Symantec, Trend Micro, Panda, AVG...none of these of impressed me as far as detection of known threats, detection of unknown threats, etc. goes. Additionally, a few of them are quite the resource hog and dramatically slow performance on my machines whether scanning or not.
I browsed around the forums and around the internet and it seems as if NOD32 receives some very good reviews, as does BitDefender (first time I've heard of them).
Can anyone provide a recommendation for decent antivirus software that isn't a resource hog and has very good detection and protection?


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Software development costs could be increased by a new approach to security research. Swiss software security specialist WSLabi says the results of security research are falling into the wrong hands and has launched an online 'secrets' exchange to solve the problem.
Herman Zampariolo, CEO of WSLabi, said: "The world is creating an incredible amount of software and firmware and a lot of it is not secure. We decided to set up an exchange portal to sell security research to ensure researchers get properly rewarded for their work and, at the same time, hackers can't easily get hold of it."
He told Register Developer that WSLabi has evidence that security researchers in Russia and China often sell the results of their research to criminal elements who use them to exploit so-called zero-day vulnerabilities - holes in newly-released software that have not been spotted and patched.
Under the principle of ethical disclosure, security researchers are theoretically obliged to pass on their findings to software developers. But Zampariolo argues that the research is in fact intellectual property and there should be mechanisms to protect it and sell it at market value.
"The number of new vulnerabilities found in developed code could, according to IBM, be as high as 140,000 per year. The marketplace facility on WSLabi will enable security researchers to get a fair price for their findings and ensure that they will no longer be forced to give them away for free or sell them to cyber-criminals," Zampariolo explains.
WSLabi will vet any research results it receives before making them available through its exchange portal. It will advise researchers on the best way to distribute their result to maximise their income and it will only sell research on to genuine, authenticated software and firmware developers.
WSLabi will, of course, charge fees to researchers and purchasers to cover its costs. ®