Make. Art. Work. artists workshops this Saturday

Hello readers,
One of the many perks to living with a bunch of artists is I often get to hear about upcoming events in the art world without having to hunt high and low to find them. Today's tidbit is about two career strategy workshops for artists being presented by Make.Art.Work this Saturday, March 9th, at the university of New Haven.

From 10am to 12:30pm Jackie Battenfield will present a "Marketing Your work" workshop.

Jackie Battenfield is the author of "how to make a living doing what you love" and will be sharing some of her knowledge and personal experiences on the challenges of sustaining a career in the visual arts. This workshop will explore helpful networking and promotional tools, and how to develop a marketing strategy based on your art and goals.

Then, from 1:30pm to 4pm the "Working with Exhibitors "workshop will bring you an impressive panel of arts professionals who will walk you through how to work with exhibitors. The speakers will include directors and curators such as independent curator Deborah Frizzell, Helen Kauder of Artspace, Laura Marsh of the University of New Haven, Viera Levitt, University of Massachusetts and Sophia Gevas of Silvermine Arts Center. This collection of experts will share their knowledge including what they are look for in the artists when considering them for an exhibit, and obstacles that artists often make for themselves.

Tickets are $28 each or $56 for the full day. Boxed lunch tickets are an additional $10.
Visit www.makeartwork.org for more information and to register. They expect to have a pretty hefty turn-out, so they recommend pre-registering.

Make.Art.Work., Career Strategies for Visual Artists, is presented by the Arts Council of Greater New Haven, Cultural Alliance of Fairfield County, Greater Hartford Arts Council, with support from the Emily Hall Tremaine Foundation.

For more information contact Jeannie Thomma, Program Coordinator, at Jeannie@makeartwork.org

Tips for Art Department to live by

This is the art department companion guide to howtofilmschool.com's 

105 Tips for Grips and Electrics to Live by

Because they said it first, and they said it best, but I just wanted to gear their words of wisdom towards my domain :)

Working on set can be challenging. Long days, not a lot of sleep, and in the art department, you will always discover something new and unexpected once you get to set. So you always have to be thinking five steps ahead of what's currently happening on set.

32 Tips for Arties to live by:

1. Keep receipts for everything: We often have to buy more than we use, so always keep your receipts, in a neat organized fashion and pay attention to store's return policies. 
2. Learn the voice of your bosses. I have kept ahead of the director, AD and Cinematographer countless times because whenever they group up to discuss the upcoming shots I invite myself into the conversation or at least keep an ear on it.
3. Listen for the Assistant Director, you can always be one step ahead if you pay attention. They are the heartbeat keeping the set's pace after all.
4. Pay attention to what is going on in other departments. Much of the support they require can be determined this way. I hate to say it, but eavesdropping is kind of necessary sometimes.
5. Listen for people in your department and be aware of any support co-workers may require. Often times just flying someone a sandbag, stinger or a larger flag can really speed things up. Remember, teamwork is very important.
6. When flying in large or heavy items be sure to call it out. Calling out things like “Couch flying in!” or just "Points!" is essential. Never turn a corner or go through a door without calling it out. As an Art department member I will often call out things like "Breakables flying in!" or "Hot coffee!" if I happen to be carrying something hot. I've noticed saying hot coffee will get anyone's head to perk up.
7. Work safely, never run but do keep up a good pace. And always double check your work. Did you grab the prop from the actor? Or did they put it into their pocket?
8. Never ever ever plug something in without asking someone from Electrics first. Whether it's a hair dryer for some paint, a sewing machine for a quick fix, or a practical for set dressing- ask first. You never know what circuit might be close to capacity with lighting equipment. So always ask first.
9. Always wear appropriate clothing and shoes. Closed-toed comfortable shoes, modest tops, and pants or shorts. There is no reason for dresses or skirts on set unless you're talent.
10. Add some sash chord to things like knives and wrenches. When on a ladder or lift,  wrap the sash around your wrist. The last thing you want is to drop something on someone’s head.
11. Learn the names of your coworkers. It is understandable that you might not be able to learn all the names on set, but be sure to know the names of the Key Grip and Master Electrian, Everyone in Camera department, the director, AD, 2nd AD, Key PA, and of course everyone in Arts. Basically anyone you will be working along side.
12. Be respectful to other departments, we are all working towards the same goal, even if we all do it different ways.
13. If uncomfortable with an assigned task or unsure, always ask! Someone else might be more suited for that job (say climbing a 12step ladder to greek a sign) it takes time to hone your skill and become comfortable with the various situations you might be put in. However, don't be timid, you should always be trying to push your limits and grow.
14. Although we all love having a fun time on set, keep personal conversation to a minimum or at least away from set. Even work related conversations should be kept fairly quiet. 
15. Come to work prepared to do your job. For and indie artistic director that means everything from tape, to a camera and saws. I'll post soon about what to pack in your art kit.
16. Label your personal gear. People won’t intentionally steal from you, but sometimes they just forget.
17. Although you should have your most important tools on your belt at all times that doesn’t mean you should carry EVERYTHING! In fact, having too much stuff on your belt can be dangerous or a nuisance to the sound department. So your general belt buddies should, at least, be a multitool, walkie-talkie, and safety pins.
18. Invest in a proper multi-tool. Leatherman is the way to go. You can get cheap alternatives, but a Leatherman is industry standard and will last you years. 
19. Always be sure to return tools to the original owners. This goes for gear too. If an electric lets you use an extension chord you should try to return the cable in the same condition it was given to you. 
20. Gear (props, set dressing, ext.) is to be staged neatly. Like items kept together, everything easily accessible. When finished with a piece of gear it can be returned to the staging area, but not returned to the truck until wrap.Staging should be set as close to the set as possible without being in the way.
21. Learn “Camera Left” and “Camera Right”. These mean from the point of view of the camera. If you are facing the camera “Camera Left” means your Right.
22. Learn “Up Stage” and “Down Stage”. Down Stage means closer to camera, Up Stage means farther from camera.
23. Watch every take it is your responsibility to act as a second set of eyes for anything prop, set, and sometimes costume continuity.
24. Treat all gear with respect. If and when a prop or tool is damaged or goes missing you must report it to the Production designer and/or artistic director.
25. There is always work to do on set. When not on any particular task you should spend your time cleaning up the staging area or preparing stuff for the next setup. You never want to be caught sitting around. 
26. Try to Work Smart, Not Hard. Plan things out instead of just diving in. It will save you time later.
27.  Save your back, get into the habit of always lifting with your legs, never your back. This goes for lighter items too. The key is to keep your back straight and bend at the knees.
28. Always pay attention to weather, things can change from one moment to the next. Wind can pick up or a storm can come in. I know it sounds unlikely, but I’ve been there before. Safety first. Which is a good reason to always dress in layers
29. Keep a spare set of clothes and a rain coat in your car. In the art department you will be amazed how many times you discover yourself covered in muck by the end of the day.
30. If asked for an ETA on your wrap, it might be beneficial to over estimate. Wrapping takes time, you never know what can go missing or other unforeseen issues.
31. ALWAYS do a dummy check. Missing gear makes you and your team look bad. Two sets of eyes are always better than one.
32. Leave a location the same or better than you found it. Make sure the furniture and knick-knacksis back to where they started, make sure all the things you flipped around to hide logos are put back in order, take the tape balls out from under pictures. We tend to touch everything on a location, so it is up to us to return it to sorts.
33. Always have a Head-Mounted Hands Free LED flashlight on you at all times. Best is a bright white/Red combo. 

I Am Worthy; a comedy for Suicide Prevention

Suicide is a horrific event that has affected many people. And opening up a conversation about it can be just as horrific. Unless the conversation starts with Emerson Theater Collaborative's newest play: I Am Worthy- The Gospel according to Josh.

I Am Worthy Project - The Gospel According to Josh

This one man show  encompasses a 30 character, 7 song show, about a small town boy who follows his dreams to Hollywood despite the tempestuous relationship with his pious father. Along the way he must navigate his religious upbringing, an escape to New York, his starring roles in two reality TV shows, and ultimately his father's tragic suicide. Discussion will follow each performance.

There will be performances on

Friday April 5 from 7pm-9pm
Saturday April 6 from 7pm-9pm
Sunday April 7th from 4pm-7pm

The performances will be held at
Union Baptist Church, 119 High Street, Mystic CT 06355

I have worked with ETC (Emerson Theater Collaborative) in the past as their set designer. They are a great little theater group with big dreams. They work to produce new plays that without their help may never have had the chance to be produced. They really work to get the community involved and to pick pieces that share an important message.  To see more about what ETC  is all about, check out their website at http://www.emersontheatercollaborative.org/

Film set- the walkie talkie

Want to learn the ins and out of a film set before setting foot on one? Check out howtofilmschool.com It's an amazing blog that goes through everyhting you'll need to function on a set like a pro. For this post I referenced their walkie talkie etiquette for you, and added some of my own thoughts.

http://howtofilmschool.com/walkie-talkie-etiquette/

Walkie Talkies- the sign that you have progressed beyond the guerrilla filmmaking to a professional set.

Walkie-talkies are a powerful time saving tool- treat them nicely, or your paycheck may be the one paying for it's replacement.

Channels:

1. Channel 1 tends to be for interdepartmental communication- and the only one saying more than "copy that" should be the AD (Assistant Director)
2. If the conversation is longer or more complicated than a quick order move it to another channel, in my experience that is often channel 2
3. each department tends to have it's own channel to deal with all their own chatter. Sound, Art Department, and G&E. If you need to talk to another department, go to their channel, but then ask them to switch to the chat channel if it's a longer conversation.
4. If you are a PA, stay on 1 unless talking to your superior on another channel- AD's hate it when they're not being heard.

Random Tips:

1. Key for a second before speaking, otherwise your first couple words will be clipped off.
2. Pay attention to your walkie buttons and dials, it's easy to get unplugged, or push the button that will make it que. And Queuing walkies drive everyone nuts. So stay in the habit of making sure you're plugged in with the volume up and on the right channel.
3. This one will seem like common sense, however it happens often with beginners, Keep your headset on you head. It will never be of any good around your neck.
4. speak slowly and calmly so you don't have to repeat yourself.
5. If you need to, have some instructions repeated do it, it's ok.
6.  As with any situation: think before you speak.

Now for the fun part.

Walkie-Talkie Lingo:

10-1 (10-100):
Standard washroom break. Although this falls under more than just walkie etiquette and is more a common set etiquette. ’10-1′ or ’10-100′ simply means your going to the bathroom.

10-2 (10-200):
Longer break…Not as common as 10-1, but still used from time to time. Some people are a little embarrassed about using, but we’re all human. Don’t be embarrassed.

Upgrade:
This one isn’t standard, but I find it works well. Often times you ask for a 10-1 and sneak off for a quick pee to then realize you have to do more than just pee…a lot of the guys I work for just ask for an upgrade. “Mind if I upgrade that 10-1, sir?” This tell your boss you wont be as quick as a 10-1.

Copy or Copy that:
Acknowledging that you have received the information, understand and are doing it.

Walkie Check:
Is said when you first turn on your walkie. Someone will reply to you with ‘Good Check’ this means your microphone is working properly and are being heard clearly.

Going off Walkie:
This is what you say when you are talking off you walkie or will not being able to communicate. It’s very important to let everyone know that you wont be available.

Standby:
Used when someone tries to communicate with you but you are too busy to reply, you simple say Standby

Standing by:
This is great to use when you’ve completely a quick task, like panning a light and are standing by it for any further instructions.

Iggy for John:
‘Iggy’ being your name, ‘John’ the name of the person you are wanting to communicate with. See responding to that call below.

Go for John:
When someone calls for you over the walkie you respond with “Go for *your name here*”. This tell them that you have heard them asking for you and are awaiting instructions.

What’s your 20:
This means ‘where are you?’. Often times asked before given a task.

Eyes on John:
‘Eyes on’ is used when you’re looking for someone or something. Sometimes you will hear something like “Does anyone have eyes on my wrench” or “Does anyone have eyes on the boss?”

Flying in:
This tells other that you are flying in to set or bringing something in.

Stepped on:
When two people try to talk on the same channel at the same time. All anyone will hear is static. A third party will generally say "repeat that please, you just got stepped on"

howtofilmschool.com

http://howtofilmschool.com

I love this blog! They have an fun writing style and are obviously seasoned professionals in the business. The blog does tend to focus on G&E, and production thoughts, but it's all very useful information and smartly written.

Some of my favorite posts are:


10 Things Inexperienced Cinematographers do that Annoys the Rest of the Crew
Where they describe some honest mistakes that newer cinematographers do. It's good advise for all newbies however. When you're on a film set, everyone has a specific job to do. So trust your team, and give them the time to do their job well.

5 Must Haves for an at Home Office
All simple tips that really do make a serious difference when in pre-prodution


Script Breakdown
Every designer ever will have to breakdown their scripts. They have some useful tips on how to catch everything you need.

And my top favorite post, which I will make sure any of my new-to-set arties read before our first day:

HowToFilmSchool’s Guide to Film Set Etiquette

Getting hired to the art department - cover letter and resume

Ok, you found the job and found the contact info, awesome!

Now what?

Write up a cover letter, dust off your resume, and rearrange your website/portfolio. You should always customize what your sending based on the job you are aiming to get. I personally hate doing all of these things. I get super nervous every step of the way, but if I- in my anxious condition- can successfully do it, you most certainly can.

COVER LETTER:

In the cover letter you get the chance to introduce yourself to your potential new boss. Keep it short and to the point and use the job posting to format your introduction.  Here is an example I found on http://jobsearch.about.com/od/coverlettersamples/a/coverart.htm where I substituted a few things as if I were applying to be an art PA on a big budget film. Make sure to use examples from your past experiences to flesh out the middle of the paragraph. 

In the context of the often casual film world this may seem a little formal, but it will show your respect for the project and the person taking the time to look at your resume.

"Dear Mr./Ms. Last Name,

The description you posted for an art department PA parallels my interests and qualifications perfectly.

With my background in art and film, I am confident that I would make a very successful and creative production assistant. Having worked on multiple ULB SAG independent films I have been exposed to a number of aspects of the film world and how to creatively deal with the challenges it often presents. My experience as a production designer and artistic director on pervious films demonstrates my capability of working with others through the creative process of production while meeting the challenges presented to me. 

I have attached a copy of my resume to this email and invite you to view my imdv page (link) and website for examples of my work (link to website here.) I would appreciate the opportunity to make a substantial contribution by exploring the process of such an exciting project through your production. I welcome the opportunity to meet with you to further discuss my candidacy and will call next week to see if we might arrange a time to speak. Thank you for your time and consideration.

Sincerely,

Signature

FirstName LastName"

Here's a few key points: taken straight from job search.about.com for your viewing pleasure

1st Paragraph

Introduce yourself and name the position for which you are applying and how you learned of the opening or organization. If an individual made you aware of the opening, be sure to use their name and affiliation. Example: “Dr. Jane Kwan at CSULB suggested I forward my resume in response to your posting for a Research Assistant.”

2nd Paragraph

• Tell why you are interested in the organization or position.
• Discuss qualifications that would be of greatest interest to the employer, using positive statements about skills and abilities.
• Indicate any related experience, educational background, or specialized training that might increase your employability.

3rd Paragraph

• Reiterate your interest.
• Refer the reader to your enclosed resume.
• Close by making a request for an interview and provide your phone number and email address, or indicate when you will follow up.

Tips for a Professional Cover Letter

• One page, 8½“ x 11” document size
• If printed for traditional mail, use white or off white stationery paper
• Use a standard business letter layout or use the same banner that you have created for your resume.
• Your cover letter should be in the same font as your resume, ranging from 11 to 12 point in such type as Arial, Courier, Helvetica, or Times.
• Address the letter to a specific person whenever possible. Sometimes you will need to contact the employer’s offices to determine the name of the person to whom the letter should be addressed.
• Give care and attention to spelling and grammar, including the spelling of names.
• If the employer has given explicit instructions for how to submit your cover letter and resume, follow them.
• Every contact you have with the employer, including your cover letter, serves as material for their evaluation of you as a candidate. This is your one chance to make a great first impression!

RESUME:

• Purpose of resume is to obtain an interview
• Use a font style and size that are easy to read; 10pt – 12pt
• Keep resume to one page, if possible
• State an objective to clearly articulate the type of position for which you are applying
• Target your information to the job objective
• Under the Education and Experience sections list most recent information first
• Highlight accomplishments
• Organize information in a logical manner
• Pay careful attention to spelling, punctuation, grammar, and style
• Proofread carefully. Do not rely on “spell check.” Use a dictionary. Ask others to proofread it for you.
• Should be neat in appearance; center on page
• Keep information honest, clear, and concise
• Print on good quality white or off-white paper
• When sending electronically save as PDF
• Remember to add your IMBD link on your resume

Here is a link to how to format a film resume: 

http://www.allaboutfilmschool.com/making-film-resume

And here are a few more sample resumes:
http://media.newjobs.com/mm/usen/content/pdf/student-film-production-resume-sample.pdf
http://jobsearch.about.com/od/resumes/l/blresumesample1.htm
http://jobsearch.about.com/od/sampleresumes/l/blresumetech.htm

Projected

This Friday my fellow NEAC member, Marc Pettersen, will be hosting an exciting event showcasing his newest artistic pursuit- projection mapped animation.  In the atmosphere created by DJ Miah Love of Fake Life, animated projection work will transform the walls of our little gallery.

The event runs from at 8pm to 12am
An 18 and older event
It is a suggested donation of $5 at the door to get in
Cash bar all night long
And a 12' screen for video gaming

For more information, Check out the facebook event.

So, what is projection mapping anyway?
By using 3D mapping tools you can project onto any screen, irregular or not, and create any number of  video installations. Here's a very extravagant example:

This fundraiser will fuel the pilot projection program for after school activities in the Middletown area. The projectors, when not being used excite and educate young artists, will be used in the MAC650 gallery for neighborhood movie and video game nights.

If you would like to hear more about Marc's vision for projection mapping and how he plans to work with his students on further project check out his Kickstarter page: http://www.kickstarter.com/projects/672086328/the-projected-world-experience

So come join the fun. We'll be dancing, drinking, and gaming on a 12' screen all night.

Here's a few more examples of projection mapping where you can see a little better how the software shapes it's projection surfaces: