Miley Cyrus (Hannah Montana) - Lyric

Best Of Both Worlds

Oh yeah

Come on

You get the limo out front

Hottest styles, every shoe, every color

Yeah, when you're famous it can be kinda fun

It's really you but no one ever discovers

In some ways you're just like all your friends

But on stage you're a star

You get the best of both worlds

Chill it out, take it slow

Then you rock out the show

You get the best of both worlds

Mix it all together and you know that it's the best of both worlds

The best of both worlds

You go to movie premiers (is that Orlando Bloom?)

Hear your songs on the radio

Livin' two lives is a little weird (yeah)

But school's cool cuz nobody knows

Yeah you get to be a small town girl

But big time when you play your guitar

You get the best of both worlds

Chillin' out take it slow

Then you rock out the show

You get the best of both worlds

Mix it all together and you know that it's the best of both

(You know the best) You know the best of both worlds

Pictures and autographs

You get your face in all the magazines

The best parts that you get to be who ever you wanna be

Yeah the best of both

You get the best of both

Come on best of both

Who would of thought that a girl like me

Would double as a superstar

You get the best of both worlds

Chillin' out, take it slow

Then you rock out the show

You get the best of both worlds

Mix it all together and you know that it's the best,

You get the best of both worlds

Without the shades and the hair

You can go anywhere

You get the best of both girls

Mix it all together

Oh yeah

It's so much better cuz you know you've got the best of both worlds

Make-up Artist Job

Job description

A make-up artist ensures that models, performers and presenters have suitable make-up and hairstyles before they appear in front of cameras or an audience. This may be in a variety of settings, including film, television, theatre, live music and photographic shoots.

Make-up artists interpret the make-up requirements of clients to produce both a creative and technically accurate visual representation. This may involve very basic make-up for a TV presenter through to more complex period make-up or special effects. The work involves creating images and characters through the medium of make-up, hairstyles and prosthetics in accordance with a brief.

Typical work activities

Depending on the nature of the job, make-up artists work alone, as assistants to a more senior colleague or as part of a make-up design team.

Typical work activities include:

• communicating with clients to clarify visual requirements;
• production study: reading scripts to ascertain the materials and the look required, budget implications and identifying areas where research is required;
• producing and sketching design ideas for hairstyles and make-up;
• ensuring continuity in hair and make-up and liaising with other members of the design team to ensure the overall look/effect is consistent and coherent;
• demonstrating and implementing a practical understanding of lighting, the photographic process, colours and the impact of special effects/make-up processes on the skin;
• ensuring that appropriate action is taken to minimise unpleasant side effects from the use of specialist make-up/hairdressing techniques;
• taking detailed notes and photographs of work, maintaining an up-to-date portfolio of work;
• maintaining awareness of health and safety issues and legislation;
• casting facial and body moulds and sculpting latex foam - known as prosthetics;
• fitting and maintaining wigs, hairpieces and prosthetics;
• hairdressing;
• maintaining an up-to-date knowledge of available make-up and beauty products;
• sourcing, budgeting and ordering materials and equipment from specialist suppliers;
• time management - knowing how long a subject will take to be made-up;
• working quickly and accurately in time-pressured conditions.

Set Decorator Job Description

The set decorator's job is simple in that he must give the characters in a film or TV show a place in which to live. But the job is also complicated; the set decoration is partly responsible for helping to tell the story on the visual level. The set decorator works closely with the production designer to develop the look of a television or film set.

1. Characterization

   • According to the Set Decorators website, it's the set decorator's job to help move the story forward and also to create visual references for the actor. For example, in the movie "Iron Man" the set decorator had to convey main character Tony Stark's moral fiber and creative ingenuity through the set décor. Although he was trapped in a cave in the middle of the desert, the set decorator ultimately had to show that he used the few crude raw materials he had on hand to make the Iron Man suit. This helped to portray the character's genius to the audience in a way that the spoken word alone could not have done. (See Resources for information about props.)

   Research

   • The set decorator conducts a great deal of research in order to fulfill the requirements of her job. She may do historical research to capture just the right setting as well conduct research on types of props that the characters use in a setting. This may mean that the set decorator will travel to the location for a film ahead of time to conduct research. She may also gather up a local film crew, and from these hired professionals, the she'll glean information about the background of the place. She uses this information later when selecting or making props and furniture.

   Historical Background

   • In film and television, because of time constraints, there isn't always time to tell the audience verbally about the history that led up to the current moment in the story. This is another time in which the set decorator helps fill the gap and tell the story. For example, in the "Lord of the Rings" trilogy, the set decorator along with the production designers needed to be able to convey the many cultures that existed in Middle Earth before the present characters inhabited the place. This sense of history conveyed itself through the different designs prevalent in each culture and through the props and furniture placed on the set by the set decorator. This type of information conveys itself through what is called cultural iconography.

   Making Props

   • Many times, the prop or furniture that a film or television show requires does not exist. It's up to the set decorator to see that it gets made. This type of prop may find its way into a historical film or a fantasy/science fiction film. The latter case, this type of prop making shows up in films like "Lord of the Rings" or "Iron Man." These props must add just the right detail to a set. They convey the history of the story visually, because in films especially, little time exists to explain that sort of detail in a narrative way.

Read more: Set Decorator Job Description | eHow.com http://www.ehow.com/about_6608196_set-decorator-job-description.html#ixzz1KoOIaNFT

Script Supervisor

A script supervisor (also called continuity supervisor or continuity) is a member of a film crew responsible for maintaining the motion picture's internal continuity and for recording the production unit's daily progress in shooting the film's screenplay. The script supervisor credit typically appears in the closing credits of a motion picture.

Up until the late thirties and early forties, the script supervisor in the American film and television industry was typically called the continuity clerk, script reader or script girl. Individuals performing such duties were either credited with these titles or, more often, not credited at all. During this span of time, many script supervisors were indeed women, a fact that originally spawned the title "script girl." However, over the years, script supervisor positions throughout the American motion picture industry became more thoroughly integrated and formed a better balance among men and women. This fact, coupled with producers' desire to promote gender neutrality in a position that was increasingly taken up by men, produced the gradual change in nomenclature. By the fifties, the gender-specific term had virtually disappeared from film and television credits, but sometimes appeared in everyday speech.

In the most basic description, the script supervisor is the editor's and writer's representative on set, as well as being the right hand aide to the director and the director of photography. It is the script supervisor's job to make sure that at the end of the day the film can be cut together. In that sense, they back up every department, monitor the script during shooting and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled in the editing room.

In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one line synopsis of the scene. These reports are used by various departments in order to determine the most advantageous shot order and ensure that all departments, including production, wardrobe, hair and makeup, are in sync in regards to the progression of time within the story.

During production, the script supervisor acts as a central point for all production information on a film shoot, and has several responsibilities.

• Continuity – The script supervisor takes notes on all the details required to recreate the continuity of a particular scene, location, or action. The supervisor is responsible for making sure thatcontinuity errors do not happen. For every take, the script supervisor will note the duration of the take (usually with a stopwatch) and meticulously log information about the action of the take, including position of the main actor(s), screen direction of their movement, important actions performed during the shot, type of lens used, and additional information which may vary from case to case. When multiple cameras are in use, the script supervisor keeps separate notes on each. These logs also notate a director's comments on any particular take as to whether it is no good, a hold take (ok, but not perfect), or a print take (a good take). All of these notes are crucial not just for continuity – they provide the editor information on what the director's preferences, any problems with any of the takes and other notes to assist the editing process.
• Slating – The script supervisor interacts with the clapper loader (second camera assistant) and the production sound mixer to make sure that each take of exposed film has a consistent and meaningful slate, that the sound and picture slates match. The script supervisor also notes the sound roll of each sync take, and the state of all MOS takes. This ensures that there is proper identification on the film footage in the editing room so the editor can find and use the correct takes.
• Script – The script supervisor is responsible for keeping the most current version of the shooting script. During shooting, the script supervisor notates any changes from the screenplay that are made by the actors, director or others during the actual filming process. If significant changes are made to the script that affect a future day's shooting, the script supervisor is responsible for providing those changes to the assistant director's team who then will distribute those changes to the rest of the crew. The script supervisor's script is also referred to as their lined script because during shooting, a script supervisor draws a vertical line down the page for each different camera setup. Each line designates the start and stop of that setup, a quick note of what the shot description was and whether or not the dialogue was on camera for that setup. This allows the editor to quickly reference which camera setups cover which portion of the dialogue or action.
• Production Reports – At the end of each shooting day, the script supervisor prepares daily reports for the production team. These reports vary in form depending on the studio or production company; however, they generally include a log of the actual times that shooting and breaks started and stopped, and a breakdown of the pages, scenes and minutes that were shot that day, as well as the same information for the previous day, the total script and the amounts remaining to be done. Also included are the number of scenes covered (completely shot), the number of retakes (when a scene has to be reshot), and the number of wild tracks. The script supervisor is the official timekeeper on any set.
• Editor's Notes – In addition to the production reports, each shooting day the script supervisor also compiles the continuity logs for the day's shooting as well as the relevant lined script pages for the scenes shot that day. Those notes are sent off to the editorial staff to assist them in the editing process.

The script supervisor is the primary liaison between the director (who decides what scenes are to be shot) and the editor (who is usually not present during actual filming but needs to have exact records of the filming in order to do the job of cutting the film together.) The script supervisor is a technical rather than artistic position and is generally considered as part of the producer's or studio's staff. There is usually only one script supervisor on a given film production.

Prop Master (PM)

Property Master

The Prop Master (PM) is responsible for the planning and execution of all props, borrowed, rented or built. The PM has supervisory responsibility over both construction and running crews.

Duties during the Planning Period:

                l.      Read the script to become familiar with the prop requirements and production concept.

                2.     Make a complete list of required props; classify them into groups:

·     set props,

·      trim props,

·      hand props

·     food props.

 Coordinate this list with lists made by the Stage Manager (SM), Director (and possibly the Prop TA).

                3.       CHECK WHETHER THERE IS ANYTHING SUITABLE IN PROP STORAGE BEFORE PURCHASING ANY PROPS, OR MATERIALS FOR MAKING PROPS.   When in doubt, consult the Prop TA, Technical Director (TD) or Designer.

                4.     Establish deadlines for obtaining and building properties in consultation with the Prop TA.  The Prop TA has forms.

                5.     Make a list of expendable props like cigarettes and food.  MAKE EVERY EFFORT TO KEEP THESE EXPENDITURES TO A MINIMUM.

                6.     Make a detailed budget for the purchase of props.  Check this budget with the Prop TA.  Obtain the approval of the Prop TA prior to any spending. Items not included in the approved budget may not be purchased without the initialed permission of the Prop TA. 

Duties during the Construction Period:

                l.         Assist the Prop TA, as directed, in securing essential props (or substitutes) needed for rehearsal.  Rehearsal props become the responsibility of stage management during the rehearsal period.

                2.       Assign crew members specific construction or refinishing projects on a per lab basis.  Provide your crew with a detailed description of each property, including dimensions, finish, and some visual aid re: style.

                3.       Check with the Shop Supervisor or Master Carpenter (MC) for use of shop space when necessary to construct props in the scene shop.

                4.       Arrange a time with the SM when you can attend rehearsal.

                5.       Make a "by scene" list of required props and the characters handling them, listing the placement and movement of the props ON and OFF stage.  Verify the list with the SM.

                8.       When borrowing a property:  (have a loan list prepared in advance):

·      Assume a professional attitude when borrowing items; assure the loaning party that the     item will be well treated and secure; offer listed insurance coverage, if desired.

·      Never borrow without the consent of the Prop TA.  The Prop TA will accompany you, if necessary.

·      Never borrow expensive antiques or items having sentimental value.

·      Make any necessary transportation arrangements through the Shop Supervisor; Prop Masters with driver's license are expected to obtain authorization to drive university vehicles.  See the Prop TA for information.

                9.       Give requests for program acknowledgements to the Business Office immediately upon receipt; provide complete and specific information.  Inform the loaning party of the nature of the program credit to assure they will be satisfied. 

Duties during the Tech Rehearsal and Performance Period:

                1.       Attend all tech and dress rehearsals.  Check in with the Prop Crew Head to assure that all needs are being met and that props function as required.

                2.       Receive and forward Director notes following rehearsals.  Follow up the next day to insure that notes have been completed.  In the event that no crew is available, complete the notes yourself.

                3.       Review the storage and handling of props by the running crew, in consultation with the Prop Crew Head.

                4.       Check with the SM and Prop Crew Head to assure that the props remain their quality during the run of performances; be in close communication with the Prop Crew Head to answer questions and provide direction as needed.

Duties during the Clean up Period:

                l.         Direct the props crew in the safe removal and return of all props during strike.  Coordinate the strike activities with the Prop TA and Prop Crew Head so that all props can be removed quickly and safely prior to any dismantling of the set (except as necessary to access prop items).

                2.       Return all props to their storage spaces; store in the assigned location.

                3.       Empty and wash all bottles, glasses, dishes, ash trays, etc. before they are returned to the prop room or to their owners.

                4.       Throw out any perishable leftover food.  Clean out the prop room refrigerator as part of strike, if it was used for the show.

                5.       Return all borrowed or rented props as soon as possible and no later than 72 hours after the final performance.  Be sure that the loan agreement release form is to be signed by the owner and the signed list returned to the Prop TA.

                6.       After all the props have been put away, join the rest of the strike with your crew.  One crew is not finished until everyone is finished.

     

Line of Responsibility:

          

                1.       Your immediate supervisor is the Prop TA, followed by the University Theatre TD.