Ruthlight

http://www.scad.edu/news/2013/performing-arts-urinetown.cfm

Want a preview of the amazing lighting designs by the PROD 320 class? Follow the link below!

http://productiondesign.us/12-13/06/lightingproject.html

http://www.etcconnect.com/LDI_sponsorship/studentapplication.html

ATTENTION LIGHTING DESIGNERS

Our Senior Project class is in need of a lighting designer for our tech and final performance in the Mondanaro on May 27th.
Lighting will be pretty minimal, but some experience is required.

Please email professor Meg Kelly (mkelly@scad.edu) if you are interested in helping!

THANK YOU!

Dear Professors,

I want your students to know about and become involved with the Film Collaboration Group, 16 by 9. To make a great film, it takes the talents of many majors. Unfortunately, not all of those majors collaborate enough (or even talk to each other at all). This is where I need your help. Share this email with your students. Let them know that we need their talents!

For starters, we are having a meeting on April 10th, Hamilton Hall (SCAD Blue Line), Studio A, 8pm. We will have a local producer in TV, Jody Jenkins, speaking about showing our SCAD films on his station, SGTV. He wants live-action and animation projects. Then we will pitch projects and ourselves. So your students can join a project that needs their talents or they can pitch what their talents are. We encourage bringing business cards or take-aways.

https://www.facebook.com/events/434403446646566

Any other time, they can post on our Facebook wall- https://www.facebook.com/16by9 Our website is looking for a web designer to update and revamp it, so we could also use students with those skills too.

Majors Needed:
FILM- of course, but there are still students out there that don’t know what a great resource we are.
SOUND- we already have a great relationship with PASO, but let’s do even more.
PERFORMING ARTS- there’s nothing worse than a filmmaker’s roommate’s acting- we need your actors.
PRODUCTION DESIGN- Film is not the dark side, theater is great, I agree, but why can’t students do both? Let’s break the stigma.
WRITERS- directors rarely write well, no matter what they say. Help us make better stories/scripts.
MOTION MEDIA- taking one CMPA class doesn’t make you an AE pro, so we need designers to snazz up our productions the right way.
GRAPHIC DESIGN- have you seen the posters directors make themselves? Not pretty. Have you seen our club posters? Also, not pretty.
PRODUCERS- like a good man, a good producer is hard to find (and worth their weight in gold when you do). Help us get organized.
ANIMATION- we want to do animations too! Let’s make a bridge between Hamilton and Monty!
VISUAL EFFECTS- how are we going to be the next Michael Bay without you? *cringes* Seriously though, we need you.
STORYBOARDING- is that character looking left or right? Wide shot or Close-up? Stop the ambiguous stick-figure syndrome, so we all know what we’re looking at.
EVERYONE ELSE- if you got an artistic talent, we can probably use it! We need helpers, runners, cooks, dry shoulders to cry on, we need it all!

We will also be looking for Board Members for our group. Graduate President, Web Director, Events Director.

If you have any questions or ideas for future collaboration projects, feel free to contact me- jdotson@scad.edu

Thank you,
Ms. Jordan Dotson, President
16 by 9 Film Collaboration Group

https://www.facebook.com/16by9

SCAD_Producers_Organization

SCAD Job Fair April 5th.  Get details by going to the website link below and filtering production design to see the many companies who want to interview you!

http://www.scad.edu/experience/events/career-fair/students/attendees.cfm#/filter

3rd Act is looking for Lighting help for their upcoming show 5 Women Wearing the Same Dress. If you are available March 3-9 and know how to hang and focus lights in the Mondy please contact Chandler Taylor at ctaylo36@student.scad.edu.

http://www.emmysfoundation.org/internship-program-categories

Scroll down to the lighting design section.  You DO NOT have to have a realized lighting design in order to participate.  DO THIS!!!

http://productiondesign.us/practicum/Film%20Practicum%20Form.pdf

That is the link to the form you have to fill out.

Here is a copy of the info from the productino design practicum handbook found at productiondesign.us website.  The formatting is much better on the website, so I encourage you to read it there.

http://productiondesign.us/practicum/PROD%20Practicum%20Handbook_January%202013.pdf

The film portion is at the very end of the document.

FILM AND TELEVISION PRACTICUM POLICY FOR PROD STUDENTS

GENERAL INFORMATION
Undergraduate and Graduate Production Design majors are eligible to receive Practicum credit for
work on film and television productions.
The process of being assigned a practicum-applicable position in film and television production
differs in some aspects from live performance, due to differences in production scheduling and
management typical in the film and television industry. However, film practicum assignments are still
subject to general management policies as outlined in previous sections.
Students may locate opportunities for practicum credit through film crew postings, film pitch sessions,
on the 16×9 website, direct contact with Senior Project or Graduate Thesis film directors and producers,
or through recommendations from Production Design or Film and television faculty.
Only Graduate Thesis and Senior Project films qualify for this level of practicum credit.
Practicum credit will be given for only one (1) film project per student each quarter. Practicum credit
will not be given for film projects where the Production Design student does not participate in the preproduction process.
In the event a film or television production is delayed or reconceived to minimize or eliminate the
services of a design position, the student will continue to receive credit for that project so long as agreed
upon documentation is delivered to the supervising faculty member.
APPLICATION FOR PRACTICUM CREDIT
Design Position Application
Practicum credit as a designer is limited to completing the requirements for one of the positions of
Production Designer (PD), Art Director (AD), or Costume Designer (CD). Full descriptions of each
position can be found in the Job Description section below.
To receive full credit, the student must fill out the application available on the Production Design
website. The application must include details regarding the nature of the film such as: whether it is a
senior or graduate thesis film, contact information, production schedule, proposed budget, and crew
needs. It is the student’s responsibility to secure a Production Design faculty advisor. Incomplete
applications will not be considered.
The student is responsible for presenting the approval documentation to the Production Manager by
the end of the quarter prior to the proposed production or two weeks prior to the beginning of preproduction, whichever comes first. At that meeting, the student will discuss any requests for crew.
Applicants should understand that a request may not be approved even if they have secured a faculty
advisor.
Design Position Requirements for Credit
Upon completion of the film project, the following documentation must be presented to the faculty
advisor, prior to the final week of the quarter, in order to allow the faculty advisor to assess the material Production Design Practicum Handbook and Production Resource
Savannah College of Art and Design
- 27 – Modified: 1/4/2013
and respond with an appropriate grade. This grade will be sent to the Practicum Coordinator during the
final week of the quarter in due time to be included with the final practicum grade report. It is the
student’s responsibility to confirm with the Practicum Coordinator that a grade has been received.
The following is the minimum documentation required for the final grade assessment:
Research materials, including photos.
Preliminary sketches of set(s) which include dressing elements
Schedule of construction
Budget showing materials and pricing
Production photos
The faculty advisor may require additional documentation at their behest. Such documentation will
be outlined upon the advisor’s review of the application.
Crew Heads and Crew
A student approved by a faculty advisor to be a Production Designer (PD), Art Director (AD), or
Costume Designer (CD) may request a crew during the application process. The availability of crew will
not affect the student’s application for the design position. Availability of crew is not guaranteed and will
be assessed based upon production needs of the department.
The Production Manager will make an assessment of crew availability based upon production needs
and respond in writing within one week of the student’s proposal being presented.
Full time crew
Full time crew, regardless of job position, is an assigned practicum position. Any students assigned to
a film and television position will be required to follow practicum guidelines as outlined in this handbook.
Once a student Production Designer, Art Director, or Costume Designer has been approved by a faculty
advisor for a film, the student must schedule a meeting with the Production Manager to discuss any crew
requests. This meeting must occur by the end of the quarter prior to the proposed production or two
weeks prior to the beginning of pre-production, whichever comes first.
A well-presented production calendar with construction and installation details must be included when
meeting with the Production Manager. It is acceptable to request specific students for these positions but
such requests are not guaranteed. If approved, full-time positions will be included in the practicum
assignment roster mail-out that is published prior to the beginning of each quarter.
Full time crew members are required to use the practicum timesheet to record hours and submit daily
crew reports to the Practicum Coordinator. Timesheet and crew report forms are available by contacting
the Practicum Coordinator.
Full time crew members will only get credit by working on the approved film. Other film or live
performance productions are not guaranteed to be acceptable for practicum credit. It is the responsibility
of the student to complete the required number of hours by the practicum deadline. It is also the
responsibility of the student to submit a completed timesheet by the announced due date. Only hours
recorded on the practicum timesheet will be counted towards the final practicum grade.
If the film production is delayed to another quarter, any full time practicum crew may be reassigned
elsewhere. Delays of this nature should be discussed with the Production Manager and Practicum
Coordinator immediately to make such a determination. Assignment to a film in one quarter does not
guarantee such an assignment in any other quarters. Production Design Practicum Handbook and Production Resource
Savannah College of Art and Design
- 28 – Modified: 1/4/2013
Part time crew
Part time film crew members are not assigned to the film and will have another full time assignment.
Oftentimes, a film needs extra crew only for a few select days and will not be able to provide enough
opportunities for a student to complete their required hours. A student PD/AD/CD may request practicum
students for a specific date. The date, number of practicum students requested, and goals/needs for the
proposed work day must be presented in writing to the Production Manager two weeks prior to the date of
need. The Production Manager will make an assessment based upon current production needs.
Practicum students approved for part time work on a film cannot miss any scheduled shifts from their
full time assigned position. Part time crew members are not eligible to be a crew head on the film.
SUPERVISION
Crew management
If the PD/AD/CD has been approved to have a full time crew, they may designate one full time crew
member to be the de facto practicum crew head. The Production Manager and Practicum Coordinator
must, in writing, be informed of who the crew head is. The crew head will then be the primary contact for
all practicum-related matters. It is the responsibility of the Art Director, or designated crew head, to
monitor any assigned crew, whether full or part time, and at all times, abide by the guidelines in the
PROD Practicum Handbook and the PROD Safety Manual. Any procedural or safety violations must be
reported to the Practicum Coordinator.
The crew head will not be responsible for securing shop facilities, props, or tools, as that is the
exclusive responsibility of the PD/AD/CD.
All practicum crew members, full and part time, must use the practicum time sheet provided by the
Practicum Coordinator to record their hours. It is the responsibility of each student to submit their
completed time sheet to the Practicum Coordinator by the announced deadline (typically the Monday of
the last week of the quarter). Late time sheets will not be accepted.
Daily reports
Reports must be submitted to the Production Manager and Practicum Coordinator via email on a daily
basis any time there are full or part time practicum students working on a film. This report must give a
basic outline of daily goals, accomplishments, needs, crew attendance, and any other applicable notes.
Failure to submit daily reports may result in a reduction of the final practicum grade.
Inspections
The Art Director, or designated crew head, must inform the Production Manager of all shooting
locations and times that practicum students will be working on a production. Failure to report all
locations and times may result in actions including, but not limited to: disqualification of practicum credit
or reduction of final practicum grade. The Production Manager, or staff designee, may inspect the site at
any time practicum students are scheduled to work. It is the responsibility of the PD/AD/CD to inform the
producer that said inspections may occur without prior notification. roduction Design Practicum Handbook and Production Resource
Savannah College of Art and Design
- 29 – Modified: 1/4/2013
JOB DESCRIPTIONS
Design positions: (All design positions will work both the pre‐production and production phases of
a film project)
Production Designer (May be combined with Art Director)
The Production Designer is responsible for the overall design, continuity, visual look, and
composition of the physical aspects of the production. The Production Designer develops
visual concepts along with Director and DP.
Products: overall concept visualizations and color palette and may include storyboards if
no artist is available.
Art Director (May be combined with Production Designer)
The Art Director is the head of the Art Department working under the Production
Designer and responsible for the design and drafting for fabrication of individual portions
of the production design; interior and exterior sets, location alteration and treatment,
special effects. The Art Director may be required to assume the responsibilities of the
production designer. The Art Director is responsible for purchasing and tracking costs of
the Art Department.
Products: drafted plans, elevations, and models of all sets and locations.
Costume Designer (May be combined with Stylist)
The Costume Designer, with artistic influence from the production designer, designs
and/or selects the costumes and accessories required for a production. As head of the
Costume department, this position is responsible for directing the work of the costume
crew, makeup artist, wig and hair stylist, and any costume, accessories, costume prop, or
makeup special effects. The Costume Designer is responsible for purchasing and rental of
material and costumes and for tracking the costs of the Costume Department.
Products: costume sketches /renderings, swatches, and costume breakdown by character,
scene, and location.
Crew Head positions:    (These positions normally work both the pre‐production phase and the
production phase of a project unless otherwise noted)
Set Decorator/Set Dresser
The Set Decorator works under the direction of Art Director to provide and install
furnishings, ornamentation, and art work for all sets and locations.
Products: lists of set dressing, photos of dressings, and cost estimates by scene. roduction Design Practicum Handbook and Production Resource
Savannah College of Art and Design
- 30 – Modified: 1/4/2013
Properties Master
The Properties Master works under the direction of the Art Director and the Director to
design and procure all hand props (non-costume) used by the actors, including on-set
foods.
Products: list of props, drawings, and cost estimates.
Storyboard Artist
The Storyboard Artist is part of the Art Department and works with the Production
Designer and director to visualize shot sequences effects, and storyline. Note: This
position usually works the pre-production phase.
Product: storyboards.
Stylist (May be combined with Costume Designer)
The Stylist is responsible to the Costume Designer for the continuity and visual look of
all clothes for a production that requires a contemporary look. This position may supervise
the purchasing of clothing.
Product: list of costumes by character, photos of garments, and cost estimates by scene.
Costume Supervisor
The Costume Supervisor works under the Costume Designer or Stylist to manage day to
day operation of shop and organize, store, and clean costumes and/or clothes for a
production.
Product: TBA
Wig and Hair Designer
The Wig and Hair Designer works with Costume Designer or Stylist and Makeup Artist
to provide wigs and hair design for actors in the production.
Product: TBA
Make‐Up Artist
The Make-up Artist works with Costume Designer or Stylist to provide makeup for
actors.
Product: Character/make-up sketches, inventory of supplies
Gaffer (Chief Lighting Technician)
The head electrician is in charge of lighting, working under the DP (Director of
Photography) or Cinematographer. The Gaffer works in the Camera department and is roduction Design Practicum Handbook and Production Resource
Savannah College of Art and Design
- 31 – Modified: 1/4/2013
responsible for lighting package and executing the lighting set-up as specified by the DP.
Note: This position works the production phase but may begin during pre-production.
Product: Lists of equipment, set up diagrams, cost breakdowns.
Best Boy
The Best Boy is the assistant to the Gaffer.
Crew positions
(On-set positions normally work the production phase of a project while construction
crews normally work the pre-production phase)
Crew positions may include:
Set construction, properties construction, or scenic painter.
Costume supervisor, stitcher, makeup, hair/wigs.
On-set costumer, on-set dresser, grip, etc.
Additional on-set or location positions may be created as dictated by the needs of the film
project and approved by Production Design faculty

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