ext_23799: (alison)
[identity profile] aralias.livejournal.com posting in [community profile] radio_sonic
We are looking for:

* Directors - who have directed at least one show in any medium
* Editors - no experience necessary
* SFX sourcers - no experience necessary
* Music sourcers - no experience necessary
* Musicians of all types, but particularly string instrumentalists and percussionists
* Composers
* Production Assistants - experience: good at lists, sending emails, and staying in touch. It would be great if you'd run or modded a fest/comm/similar.

If you're willing to do any of these tasks PLEASE get in contact with us. The work should be both fun and rewarding and, as you can see, no experience is necessary for a lot of the roles we need. When we do ask for experience, we're just wondering how best to assign you and working out what you'd be most comfortable doing, rather than judging you for a job interview.

Thanks!

THE FOLLOWING PRODUCTION POSITIONS ARE AVAILABLE:


Director

Job Description: (This sounds a lot, and indeed director is a difficult and time consuming position, but it should also be one of the most rewarding and creative)
  • You will be given a script and a group of actors. You can discuss the script with the writer, if you like, or not - as you'd prefer.
  • Acting wise - we'd like you to be at every recording for the episode, direct and guide the actors as to how you believe the lines to be performance and generally lead and structure the recording time. Ideally, you should take notes about which takes you thought worked well (but this can be done at a later stage, if impossible). You don't have to be at the virtual table read (which will happen before this), but it has always been fun, and you may wish to make notes about actor's performances.
  • Once the performances are in the bag, you'll work closely with the post production team. Based on your notes, the editors will make a preliminary mix of the dialogue for you to listen and report back on. If there are any changes, we'd like you to listen to the dialogue again.
  • There will be a meeting between you, Head of SFX and Head of Music to decide the tone for the series. Music will work closely with you to make sure the composed and sourced music is as close to your ideas as possible. SFX will consult you about unusual sounds for similar reasons. Once the editors have cut together a final mix of the episode (including dialogue, SFX, and music) you should listen again, and come back with notes about any parts that aren't working.
  • Profit! Satisfaction with finished piece of audio drama.

Experience Required: Directing (theatre/audio work) experience highly preferred. Good communication skills a must.
Time Commitment: Large (6+ hours/week)

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:


Editing Team Member

Job Description: You will edit together dialogue streams, do clean-up work/noise removal. We also need experienced editors to insert music and SFX, and otherwise edit the audio files for the episodes under the direction of the Head Editor and the director.
Experience Required: Audio editing experience preferred; none required.
Time Commitment: You can set your own workload by scenes. Any help is much appreciated, so if you can only take on one 2 minute scene per 2 weeks, that's great. If you can do more - that's even better. Thanks.

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:


Sound FX Team Member

Job Description: You will create/mix/find SFX under the direction of the Head of SFX.
Experience Required: SFX or audio mixing experience preferred; none required. Foley experience bonus!
Time Commitment: Two to three hours a week, potentially more or less depending on your schedule.

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:


Music Sourcer

Job Description: With notes from the Head of Music (and possibly a script) you search a list of websites advising free music (provided by us) to find a selection of music that the Head of Music, director and producers can choose from to use a specific points in an episode.
Experience Required: None
Time Commitment: Negotiable. A few hours a week - more would be brilliant.

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:


Composer and/or Musician

Job Description: With notes from the Head of Music (and possibly a script), you will compose short sections of music for an episode. AND/OR record compositions by other members of the music team/other music on your instrument.
Experience Required: Some experience of composing and/or a reasonably high level of skill with your instrument.
Time Commitment: Musicians: variable, depending on the music that is composed. Composers - relatively high. We would ideally like a first draft of any composition in 1-2 weeks. But we can talk about how much time you have to give, and everything is negotiable.

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:


Production Assistant

Job Description: You will work closely with the Line Producer ([livejournal.com profile] aralias) to help devise schedules for recordings and post production work, co-ordinate the various teams, help send reminder emails/emails thanking people for getting involved/script distribution emails, ideally shadowing one of the heads of department so that if they have a RL disaster you could take over from them. This doesn't seem like an important or difficult role, but it is absolutely vital - at the moment I am spending several hours a day sending emails and keeping people informed of what's going on, so I'd really like some trustworthy types to help take over some of that work.
Experience Required: None, but if you have proven experience working in a production/organisational environment that'd be brilliant.
Time Commitment: Negotiable. I can assign you specific tasks that will take the amount of time you are willing to commit. I don't mind how much or how little time you can commit - I just need to know about it.

TO APPLY, FILL OUT THE FOLLOWING IN A COMMENT ON THIS POST:



NOTES:

Does slash bug you? Be advised that while nothing in this series is explicit in that regard, nor is it likely to be in future, our writers largely hail from D/M corner of Who fandom, and there’s a bit of subtext in the original, according to Cornell, which we’d like to preserve in the performances. If you are uncomfortable with this, you may want to consider not applying for the Director position.

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Radiosonic Workshop

July 2012

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