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Television Jobs
Television is experiencing a rebirth and the baby is even bigger than the first time around. For a long time, TV was the less favored sibling to the big screen, film. But now when Martin Scorsese, David Fincher and Guillermo del Toro are jumping on the series bandwagon, you can be rest assured that's where the bulk of content is getting pumped out. And where there's content, there are jobs.
YouTube finally acknowledged its plans to launch a new cable content platform, Unplugged, which aims to offer users bundled packages of different cable channels over the internet. YouTube claims ownership to 67% of all internet users and has confirmed that they are making Unplugged a priority. YouTube's Unplugged comes on the heels of its first paid subscription service YouTube Red. The video platform's growing presence in content traditionally made for network and cable services speaks to how TV is simply turning into digital content. Hulu boasts over 9 million paid users, HBO's streaming service already has amassed close to 900K in addition to its cable network's 500 million and the Godfather of digital content Netflix enjoys a subscribership of over 70 million.
So now that we know that "television," is not going away and adapting to the current climate of content, what's it like to work in it? Well, that part hasn't changed so drastically. And working in television is truly an environment for extroverts who thrive in collaboration.
Unlike film, there is a lot of time. A lot of it. Film tries to make time exist that doesn't and television can at times feel like the clock is endless. That's not to imply that television production jobs are not full of long days and intensity. The writing in television is much faster because the writing staff has to keep up with production. In film, production doesn't happen until the writing is finished (for the most part.) However, working in television is often referred to as working a "real job" with "real office hours," as opposed to the insane schedule film can pack in within a month. Just remember, TV office hours can be long office hours.
Television is a stickler for format, tone, and structure in ways that a film, play or live event doesn't have to be. As an audience is with television characters for upwards of 10 to 12 hours a season, the team creating them has to ensure that the story they are building can live for multiple seasons and be indistinguishable from any other show.
Positions in television also can vastly differ from the same role in film. For example, a script supervisor (scripty) on a film is in charge of continuity and eye lines but a scripty on a TV show is responsible for building scripts to a format that best suits the director. Speaking of the director, there is quite a different hierarchy in television. In film production, the director is at the helm of everything creative and is working in conjunction with the producers who are manning the business of it all. In television, the person in charge is the showrunner. That person runs the writers' room and calls the creative shots. It's the showrunner's vision that everyone else is trying to support.
Traditionally in television, directors are brought in to handle individual episodes but most of the time won't be making any big structural changes. However, with the explosion of single camera content, television directing is becoming more like film directing. For multi-camera shows, the director is mainly in charge of the control room and the crew working within it.
In general, you can look at a film roster and know that similar roles are needed in television. Just like film, there's pre-production, production and post-production.
In pre-production, producers, associate producers, line producers, the showrunner and writing team are all in prep for the upcoming season. An average salary for a television producer is usually comparable to film, around $65K, according to Glass Door. Associate producers in television make on average $55K and producers making on average $75K. Television writers make between $55K and $157 a year depending on the number of guaranteed weeks.
Along with that above-the-line department of course, there are all the below-the-line roles that help build the world and characters the show will revolve around. Salaries are pretty comparable to film in regard to these roles.
Production is where things can look and feel quite different from film. Most television content is filmed on stages and studio lots, particularly when there's a home base that the characters live in or work in. For live audiences, that's also quite a different feeling than a film that is shot in a more closed off environment where auteurs privately toil on their craft.
But there's a big shift in television that is making it seem and feel more like film. More television shows are being shot on location and are being treated like a very long film. Netflix's Stranger Things is often referenced as one long feature broken up into an episodic series.
The types of scripted television shows you could be working in are: serials, shows to be watched as a series such as Game of Thrones, procedurals, self contained episodes within a series such as Law and Order, single camera, utilizing similar techniques camera wise as in film, and multi-camera, usually in a studio and how so many of our sitcoms of yesteryear were shot. NBC's The Carmichael Show and CBS' Mom are examples of modern multi-cam comedy.
Reality shows, live news, late night, morning shows, and talk shows are examples of unscripted television content you could be working in. Reality shows are shot more like single camera narrative shows. All the live shows mentioned, minus news programs, are generally shot in front of a studio audience in a multi-camera format, to capture all those angles we're used to seeing.
The best and potentially worst part of television is that unless an abrupt cancellation happens, you can be ensured work for years to come. If television is a relationship, it's a long marriage. But there's so much of it out there, you can most likely find a second and third spouse if the first one doesn't work out.
Here's a breakdown of specific roles in television production:ADR Recordist
- ADR (Automated Dialogue Replacement) is often referred to as looping or dubbing.
- 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 television episode. 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 the home base of a news or magazine style program. An anchor
- This person is in charge of all animal actors and trains these actors to perform on cue for a television show.
- This person oversees all of the art department on a television series which means working right under the art director and production designer, they execute and ensure the visual artistry in the series, 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 television series and manage what is often one of the largest divisions of a television show. They manage the execution of the production designer's vision for sets and locations that serve the overall vision of the television series 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 shoot. The AD then takes all this information to then create a shooting schedule for that episode's 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 individual episode so that episode can be edited. They are often responsible for laying down the rough timeline of that episode 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 television series. Responsibilities can include writing, editing, script organization, and assisting the editor with smaller editorial choices.
- 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 operates the computerized system that follows an anchor's voice as they read information off the teleprompter. The program speeds up or slows down depending on the pace of the anchor.
- 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 serves as a television or radio's audio, electrical and computer engineer. This engineering is tantamount to the technical side of broadcasting a program. This engineer works with the studio end of broadcasting and the transmitting part of broadcasting. The broadcast engineer oversees broadcast automation systems for the studio and automatic transmission systems for the transmitter plant. This person is also responsible for the radio towers, including lighting and painting.
- This person is the legal representative and advisor of the network that the television series airs on. This person handles the negotiating of deal points with the talent being hired by the network.
- 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.
- This person does exactly what the job title suggests, operates the camera. This can be a digital camera or on a studio camera. In television, this is determined by whether the show is considered a multi-cam or single-cam show. For a multi-cam show, the camera operator will be on a studio camera, generally following a specific camera script, meaning a predetermined shot list. For a single-cam show, the camera operator executes the camera very similarly to the way they would on a film: operating the camera in whatever location the crew is shooting at.
- This person supports the casting director in selecting all speaking roles on a television episode 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 television series.
- 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 television series, 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 television series in regard to casting.
- This person communicates with various talent agencies in order to get referrals for roles in an upcoming television episode.
- This person provides the big meals on a television 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 television production. The other snacks on a television set are usually provided by craft service.
- This person handles the booking and contracts of specific celebrities that are appearing in a television program. The celebrity booker follows trends to stay on top of who are the best options of celebrities to book.
- 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 is a writer with upper level status in a writers' room of a television series. Some shows have more than one co-e.p., but there's usually one that the showrunner goes to be the second in command. This selected co-e.p. would run the writers' room in the showrunner's absence.
- This person provides the color of the television episode, in realizing the overall vision of the director and showrunner. This part of the process happens in post-production once the editor and assistant editors have locked down the timeline of the television episode.
- This person writes the music of the television episode 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 television series its visual backbone. The concept artist sketches images that reflect the ideas discussed for the television series and often has to re-sketch new ideas on short deadlines.
- This person oversees the construction of sets and stages for a television series. They report to the production designer and provides 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 a senior level writer in a television writers' room. Although producer is in the title, a co-producer is mostly writing and contributing ideas on a television series.
- This person is in charge of costuming a television episode. In pre-production, the costume designer works with the showrunner and producers in planning the overall look of the costuming as part of the overall vision of the series. If the series 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 series' 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 television series.
- 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 television series.
- This person transfers the 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 original writer, sometimes show creator of the television series. They push the concept at pre-production, looking to persuade interested studios and networks to purchase the concept and series. They are often responsible for securing the rights on the series.
- 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 television episode. They provide color correction, image manipulation, production continuity, troubleshooting and overall assisting in the shooting of the television episode.
- This person directs individual episodes of a television series. The director works with the showrunner to bring the showrunner's vision of the overall series to the individual episode they are directing. Sometimes, the showrunner also directs several episodes of a series. The director of a live show or news program is running the control room to ensure all cameras and crew are executing a carefully planned orchestration.
- 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 showrunner 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.
- More commonly referred to as a re-recording mixer, this person is responsible for the final soundtrack of a television episode 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 television episode 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 a television series eventually 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 works on news programs and is the point person for a story on location, not in the studio. The field director oversees how the story, that is either just breaking or on-going, will be covered. This person works with the crew and reporter to execute the story.
- This person works on a news story that is in the field, meaning not in the studio. The producer helps secure interviews, footage and assists the reporter and field director with the overall story. The field producer will do research, log video and help the reporter write the copy of the story. Occasionally, the field producer will conduct interviews for the reporter.
- This person assembles all the footage/data of the television series 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 episode in a way that honors the overall vision of the showrunner. Editors report to the showrunner and producers in post production.
- This person is usually a grip who handles and is in charge of electrical equipment on the television set.
- This person is sometimes the showrunner and often is a creator of the overall television series. The executive producer is atop the food chain of the writers' room and if they are not the showrunner, they are collaborating directly with the showrunner, responsible for the execution and completion of the entire series.
- This person is a mid-level television writer in the writers' room. This person is usually in their third or fourth year of writing for a television show.
- This person helps with logistical needs such as accommodations, permits, crews, equipment and talent when a television episode is being shot abroad.
- This person creates the sounds you hear of a television episode 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 television episode to support the overall vision of the showrunner. 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 series.
- 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 television episode 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 television episode by analyzing the script. The LD works with the showrunner, director, set designer and art director to achieve the right interpretation of the story through lighting.
- This person is brought onto a television series to analyze and monitor the budget 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.
- Also known as the LTD, this person comes up with the lighting design for multi-cam television productions. The LTD oversees the crew of electricians and assists the LD with managing their team in the lighting gallery. Ultimately, the LTD is there to support the director in lighting the show in support of the overall vision of the showrunner.
- 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 television series. 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 television episode 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 television series 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.
- 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 reports to the marketing director mostly in an administrative role. This person helps with the overall marketing strategy of the television series. The marketing assistant is often scheduling meetings, researching target markets, and following television ratings. Sometimes television shows have network tests with a focus group to test a sample audience's reaction to the content.
- This person will devise a marketing campaign for the television series. This includes event planning, public relations, strategizing associated products, sponsorships and market research. The marketing executive may run a focus group to test a sample audience's reaction to a television pilot. This can factor into the studio and network's decision to order a pilot to series.
- 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 a television episode. 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 is a director who executes individual episodes of a television series in a studio with multiple studio cameras shooting for footage. Usually there are three cameras that shoot simultaneously to get adequate coverage of a scene that is being shot. A multi-cam director gets multiple shots at once with this setup, often avoiding tons of takes which can happen frequently on single-cam shows. News shows, talk shows (morning and late night,) and soap operas are usually multi-cam shows.
- This person assists the editor in realizing their vision of the television series through music. The music editor works under the composer and the showrunner to achieve a specific musical tone throughout the series. 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 television series. The musical arranger assists the composer in arranging all the voices and instruments of the score.
- This person manages the news gallery while the program is being broadcast. This director runs the control room, yelling for which camera angle to execute, calls for incoming video, decides when to roll graphics and when to cut to a guest. The news director can be considered a conductor or quarterback of the control room to ensure the program runs smoothly.
- This person is responsible for the tapes of a news broadcast. The news tape editor also oversees network feeds, archives and coordinates a live feed from a satellite truck or bureau to the studio. A news tape editor often has to edit tape on the spot so she/he has to be good at editing and fast. This person generally reports to the producers and news director of the news program.
- This person is responsible for the newscast in entirety. The news producer oversees the collecting of footage, follows breaking stories, tracks reporter packages, vo stories, and the graphics that accompany them. The news producer oversees the rundown which is the schedule of the stories in a news program. This person usually has a newscast meeting (either in the morning or night depending on the program) many hours before going live to assign stories to various producers, reporters, and editors. This is the assembling of the rundown.
- Television shows, 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.
- Television shows 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 showrunner, 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 television series.
- This person oversees scheduling of post-production on a television series, coordinating elements such as ADR, coloring, sound design to ensure the final delivery of each episode of the series. This person is also in charge of paperwork such as accounting and post-production forms with technical specs for the final version of each episode of the series. The post-production coordinator handles the storage of the series, offline editorial elements and the master audio files. 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 episode of the series 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 accounting.
- This person is there to handle the business side of television producing so the showrunner and director can focus on the creative. Editing scripts, researching new episode ideas and securing rights for a television series are some of the possible duties of a series producer.
- This person manages the finances and accounting of the television series during production. They oversee payroll, scheduling and financial reporting related to the series. 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 television series. 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 television series. The production manager decides how the budget is spent.
- This person handles the sound recording of the television series, 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 television series. They have to work with the showrunner, director and art department to ensure they are adding all the necessary items to fulfill the showrunner's vision of the series, while doing in on budget. Much like makeup, wardrobe and set design, props need to reflect visually the set time period of the series.
- This person is responsible for individual stories in a news, magazine style or documentary program. The reporter tracks, researches and develops an angle on a news story. They are responsible for collecting sources and verifying them. The reporter conducts interviews with on-air guests and speaks the vo-copy associated with the story. A reporter package is usually about two minutes in length and includes vo, sound bytes (SOTs,) on-air interviews, a reporter standup and b-roll to put under the vo. If a reporter is live on the scene, they are generally doing a quick standup and live interviews.
- 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 television series. 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 of each episode. The scripty on a television series is responsible to structure each episode to best guide the director of that episode on how to shoot it.
- 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 on single-cam shows.
- This person is responsible for one segment of a multi-segment production. In a news magazine style program (ie. 60 Minutes) that has a few stories in the program, that segment producer would be responsible for one of those stories.
- 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 is exactly what the title suggests, the runner of the show. On a television series, the showrunner is often the creator of the show and oversees all of production to ensure their vision comes to life. The showrunner manages the writers' room, directing the various tiers of writers week after week to create an episode that fits into the overall vision of the series. The showrunner is highly involved in the hiring of the writing staff and other key creative positions.
- 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 television series. They come up with their own vision for the sound of the series in support of the overall vision of the showrunner. 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 television episode 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 the lowest level writer in a writers' room. It's usually their first year writing on that show. A staff writer often doesn't get to write an episode in their first year of being on staff and usually is not credited. A staff writer contributes the least vocally in the room and is mostly taking everything in to support as needed.
- 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 television series 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 television series.
- This person is a writer usually in their second year. They are the next level up from a staff writer and contribute to episode ideas and write an episode of the series.
- This person organizes and arranges for all the stunts in the television episode. The stunt coordinator provides stunt choreography as well.
- This person provides any stunt driving that is needed in the television episode.
- This person in television is a senior level staffed writer who also has producing power and is credited that way. The showrunner and co-executive producers often lean on the supervising producer because of their experience and seniority.
- 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 television episode. 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 television series for each department. This includes local travel planning as well.
- This is an executive who runs a particular unit on a single-cam television show and is hired by a senior producer. A unit manager can only work on one show 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 each episode of the series.
- This person is responsible for the overall visual effects of the television series. 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 television series.
- 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 is part of a team of writers that meets every week to create each episode of the series. Usually the writers in the room, under the helm of the showrunner, discuss each episode for hours and hours, throwing out idea after idea until something sticks. Then a specific writer or small team of writers are assigned to write that individual episode, starting with an outline. Once the network and showrunner approve the outline, the writer or writers can then go ahead and execute the individual episode. A television writer has to be skilled at collaborating as most of the episode breakdown happens in the room.
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YouTube It
Taken from a 1996 performance
in Germany, Earl and
the classic Broadcasters
lineup tear through their
classic shuffle, "Blues for the
West Side." Watch Earl bring
the band down to a whisper
at 3:05.
After telling a touching story
about Hubert Sumlin, Earl
dives into a tribute to the
late, great blues master. The
double-stops at 2:53 pay fitting
Jimmie Vaughan invited Earl
to sit in with his band during a
stop in Lowell, Ma. Both guitarists
take extended solos over
the slow blues made famous
by Jimmie's younger brother.

subset: commoncrawl


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Korean men urged to stop beating and raping their wives by Ministry of Gender Equality and FamilyNovember 27th, 2012 . by Errol
The Supreme Court of Korea (appointed by Park Chung-hee) ruled in 1970 that legal remedies for physical violence against wives are inadmissible in Korean law courts and that even wife rape cannot be considered to be abuse in Korean law courts.
"You cannot rape your wife" is the headline for the Korea Times article. This is because forced sexual intercourse of a wife has not been regarded as rape by the Korean Supreme Court since 1970. Is the Korean Supreme Court thereby protecting the conjugal right of Korean men to engage in forced, violent sex with their wives?
The Ministry of Gender Equality and Family in an effort to address this issue of conjugal rights announced on Monday (26 November) its 4th basic policy program involving women's affairs for 2013-2017, the program is designed to prevent sexual and domestic violence and strengthen the punishment of violators.
The United Nations has long called on Korea to recognize wife rape.
"There has been opposition from legal circles but there is a need for serious discussion on the issue. Even among married couples, people have a right to choose and this should be part of the law," said a female official from the Ministry of Gender Equality and Family .


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Statewide News Briefs - Jan. 2008
» A run on a state-managed investment pool for local governments caused the State Board of Administration to freeze the fund temporarily last month. Local governments had withdrawn close to $14 billion, about half of the funds from the pool, in two months. Investors became concerned over the fallout from mortgage-backed securities. About 6% of the state-run fund is invested in securities that have defaulted. Four days after closing, the state reopened the fund with limits on withdrawals. Pool manager Coleman Stipanovich resigned, and the state shifted management of the fund to BlackRock Inc.


text:
Billet Auxiliary
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A Sandwich a Day: Fresh Ham Sandwich at La Taza de Oro
A new sandwich every day.
Editor's note: In this great city of ours, one could eat a different sandwich every day of the year—so that's what we'll do. Here's "A Sandwich a Day," our daily look at sandwiches around New York. Got a sandwich we should check out? Let us know.
The fresh ham at Chelsea Puerto Rican lunch counter La Taza de Oro is quite a feast for six bucks: a huge pile of pork haunch, roasted, chopped, and heaped onto a long, slightly crusty white roll. Crunchy bits, fatty bits, meaty bits, and all. Of the three apparent ingredients—pig, bread, salt—it's the last that may turn off some; three glasses of water later, I still felt my tongue parched. But if you love salty meat as much as we do, this is the sandwich for you.
La Taza de Oro
96 8th Avenue, New York NY 10011 (map) 212-243-9946
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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Friday, November 2, 2012
The journey from Lachine to Fort William [Thunder Bay]
If you are researching these river roads or want to learn more, the best sources (and the ones I will be using) are these two books:
Exploring the Fur Trader Routes of North America; Discover the Highways that Opened a Continent, by Barbara Huck et al, and
The Fur Trade Routes of Canada: Then and Now, by Eric W. Morse.
Both books are available in your local library and the first will still be in bookstores, I expect.
We will begin with a quote from my own book, The Pathfinder, which speaks of young Anderson's arrival in Montreal, in 1831.
"In the summer of 1831, Alexander Anderson disembarked in Montreal and clambered into a lumbering, two wheeled, horse drawn cart -- called a caleche -- for the nine mile trek west to Lachine. The post stood at the head of the Lachine rapids, which blocked marine traffic on the St. Lawrence River west of Montreal. As headquarters of the North West Company, Lachine House had once been the busiest place on the continent, its stone warehouse bulging with rich furs from the interior. But the HBC's headquarters was now at York Factory, on Hudson Bay, and Anderson soon realized that his dreams of adventure in Indian country would never occur at this quiet post......
"In Spring 1832, the governor and council of the Hudson's Bay Company assigned Anderson to the Columbia district, where Chief Factor John McLoughlin would put him to good use. In April, two flotillas of canoes paddled away from Lachine. The express boats travelled light and fast with papers and accounts for the annual meeting of the Company at Norway House. Behind them came the slower canoes of the brigade, heavily laden with the outgoing provisions and passengers for the interior. One of these brigade canoes carried Anderson away from Lachine House.
"From Lachine House, the canoe route followed the traditional river road used for hundreds of years by the coureurs de bois (early French fur traders), and more recently by the voyageurs of the NWC. David Thompson had travelled this route many times, as had Simon Fraser and Alexander Mackenzie. Now 18-year-old Anderson followed the same route his predecessors had travelled, westward into the territory they had opened to the fur trade."
In this part of the world -- that is, between Montreal and Fort William [Thunder Bay, Ontario] they used 40-foot Montreal canoes made of white or silver birch, with seams tightly sewn with spruce fibres called wapete, and waterproofed with many applications of spruce gum.
These were tough, strong, canoes, ideally suited for the rough river passages, and they carried four tons of freight and passengers.
About the first of May, when the Ottawa River was finally free of the ice that had drained out of the interior lakes, these big canoes started off from a position on the river bank, just upstream from the old Stone Shed -- a large warehouse built in 1803 by Alexander Gordon, a merchant who had served as a clerk for the HBC.
Interestingly enough, though Gordon had worked for the HBC, while at Lachine he was in what was mostly North West Company country!
But even after the HBC absorbed the NWC, Lachine continued to be part of the fur trade -- primarily because Governor George Simpson chose to make his home there.
From the beach at Lachine, the voyageurs travelled west, sixteen miles, to Ste. Anne's, where they stopped at a church, that was part of a convent, for their traditional blessing for their long journey west.
At this point they were still travelling the St. Lawrence River, but at the Lake of Two Mountains they headed for the mouth of the Ottawa River.
They generally timed their voyage to be able to make their first camp near the upper end of the Lake of Two Mountains, where they received their regale -- a keg of rum.
Then the voyageurs drank and partied and fought and sang far into the night while the gentlemen tried to get a little big of sleep.
On a brigade such as this, the voyageurs did all the work -- this was their journey.
They woke up the next morning a little hung-over, and paddled up the Ottawa until they reached twelve miles of rapids, in three sets -- called the Long Sault.
Generally they tracked their boats through the rapids of the Long Sault, along the north side of the river, though on quieter stretches of the river they could paddle their canoes half-loaded.
On this stretch of the river were three carrying places, which varied with the height of the water.
Today's Ottawa River, with its twelve dams and reservoirs, does not in any way resemble the rough, fast-flowing river that the voyageurs paddled up two hundred years ago.
By travelling up the Ottawa River and crossing the height of land by various streams the voyageurs cut some five hundred kilometers of travel of the route they would have travelled had they continued to follow the St. Lawrence River west.
At the place where Ottawa now stands they came up to the Chaudiere Falls, named so because it resembled a cauldron of boiling water.
Portaging was the only way around these boiling falls, and in springtime the portage began downstream from the falls.
From The Pathfinder: "... as the gentlemen kept an eye on the freight at the head and foot of the trail, the voyageurs carried 90-pound bundles, two at a time, at a dogtrot over the rough trail, so close to the riverbank they were sprayed with the windblown water. Finally they brought the canoes over the portage on their shoulders, and the gentlemen followed them over the trail."
Next came the Little Chaudiere Falls, and Barbara Huck et al says this about this place:
"Those tracing the route today will have no trouble finding this historic trail, for the city of Hull has created a park -- Parc des Portageurs -- complete with biking and hiking trails, to commemorate it.
"One section of the original trail, which lies just below Brebeuf Park, is particularly interesting.
"Here, a set of low stone steps -- built by the voyageurs according to canoe historian Eric Morse -- can clearly be seen mounting a bank from a submerged stone shelf at the water's edge."
From the head of the portage, the voyageurs paddled across the bay to begin tracking and poling up the Deschenes Rapids.
My other source says the Deschenes Rapids was passed by portage, on the north shore.
At Chats Falls, or the Sault des Chats Sauvage, the river spread out and flowed through a line of beautiful waterfalls a mile wide.
The voyageurs portaged past these falls on the second island from the north.
Chats Falls was named, not for the cats, but for the raccoons that were common here at one time.
They were called les chats sauvage.
They travelled this part of the river, and others, at the slow speed of four miles an hour!
When portaging, of course, their speed was reduced to half a mile an hour.
This was a long, slow journey when you compare it to modern-day travelling.
Above Chats Falls there was still fast water through the top end of Lac des Chats, called the Chenaux.
There were four sets of rapids here -- the Decharge du Derige, the Mountain Portage, the Decharge du Sable, and Portage du Fort; they probably passed on the Quebec side of the river, using poles.
At Portage du Fort, where the river cascaded down through many channels among big trees, the voyageurs landed and carried their loads along the portage path on the right hand side.
After they rejoined the river once again, they reached Calumet Island which was surrounded by rapids.
The island's name comes from the dense white limestone, soft enough to be whittled into pipes or calumets.
This was the longest portage of the Grand Portage, a little over a mile long.
they began their portage at a little cove, and followed an easy trail that ascended the hill through a forest of cedar trees, though the trail took the voyageurs past two steep ravines before rejoining the river.
Beyond was Lac Coulonge, and when Anderson travelled this river, Fort Coulonge stood on this lake.
In one of his later manuscripts he mentioned this fort, and so we know he was there.
Next came the Allumette Island and the rapids that surrounded it, and the channel taken by the voyageurs was the narrower channel on the main Ontario shore.
Travelling up these rapids was like pushing through a tunnel.
At the upper end of the peaceful Lac des Alumettes beyond, the voyageurs came up to the granite of the Precambrian shield which rose straight from the river.
The old name of the lake was Riviere Creuse [Deep River]; today the town of Deep River stands here.
From The Pathfinder: "When at last the cliffs opened up again, the voyageurs set up camp on a sandy point of land on the west shore. Across the river from their camp loomed a black-stained cliff, a special place for the Natives, who tied tobacco to the arrows they shot at the cliff face as an offering.
"It was a special place for the voyageurs, too. New voyageurs were baptized in the river off the sandy point, and gentlemen who crossed this height of land for the first time also took part in the ceremony. Almost certainly, Alexander Anderson received a splash of water in his face from a branch dipped in the river, along with a playful request that he never kiss a voyageur's wife without her permission. When the mock baptism was finished, the voyageurs celebrated by firing their guns in the air. The fur trade was a mixture of cultures, and while the mock baptism mimicked the religious practices of the Roman Catholic voyageurs, the firing of guns into the air was a Native tradition."
This is what Carolyn Podruchny has to say about this ceremony, from her book: Making the Voyageur World: Travelers and Traders in the North American Fur Trade:
"At several points of geographical significance along the transport routes in the pays d'en haut, novices who had never before passed that point were obliged to participate in a ceremony of mock baptism. the ceremony of baptism, representing the purification from original sin, is usually performed on infants and involves putting water on the individual's head through immersion or sprinkling. In the case of voyageurs in the fur trade, it represented primarily the initiation of neophytes into the occupation. As the first of Catholic sacraments it was recognized as the door to church membership and to spiritual life, but ironically the ritual baptism marked voyageurs' departure and increasing separation from the settled Christian world. At the same time, the ceremony marked voyageurs' entrance or initiation into the occupation, and it represented the continuing practice of Catholicism, albeit in modified form, in the interior..
"The point of baptism along the Grand, or Ottawa, river was the first place on the route out of Montreal where the bedrock or Precambrian shield could be seen. It was located about two hundred miles northwest of the modern city of Ottawa, where the Deep River, or the Riviere Creuse, entered the Ottawa River, at the upper end of Lac des Allumettes. Here canoe brigades passed through a narrow, deep, and swift part of the river, where towering cliffs of granite provided a significant visual marker for the entrance into a new land. Immediately after this difficult passage, brigades stopped at a sand point, where canoes could be easily grounded and the crew could pause for a rest. Known as "point au bapteme," it was the oldest and most well established site of ritual baptism along fur trade routes. As early as 1686, the Chevalier de Troyes mentioned the practice as an established custom: "Our French have the custom of baptizing at this place those who have not passed before." The "Pointe aux Baptemes" is today marked on maps."
To continue the journey: their next portage upriver was at Des Joachims, where the Ottawa River did a big S-turn and there were two miles of thundering rapids.
They portaged there, making use of two bays and a little lake which cut down the carrying distance.
Beyond that point they abandoned the Ottawa River, and entered the Mattawa River which led them west.
The forty mile long Mattawa was rough and rocky and narrow, and it had a small rapid at its mouth where it flowed into the Ottawa, called the Mattawa Rapid.
It was generally run, not portaged.
Next came the Plain Camp Rapid (Flat Field) and eleven other portages or rapids.
At Rapide des Perches near Pimisi Lake, the voyageurs threw away their poles and took up their paddles.
This was the end of their upriver push.
Eric Morse, author of Fur Trade routes of Canada, says that the Mattawa River route might have gone through Robichaud Lake rather than following the Mattawa River above Talon Lake.
You who live in this part of the world might have a better notion of where it goes.
The voyageurs had to make their way over a height of land and into Lake Nipissing over a series of granite ridges and bogs.
First there was a 1500 yard long winding portage over a low height of land, after which they put their canoes into a beaver-dammed stream and followed it down, through a succession of ponds and over two portages, into Lake Nipissing.
The entire distance of this portage and shallow stream paddling was about seven miles.
Lake Nipissing was a shallow lake and so dangerous choppy in high winds, and the followed a course along its south shore among many protecting islands.
At the portage called Chaudiere des Francois they reached a flat rock in still water where the French River began.
The seventy mile long French River gave the voyageurs a rushing downriver day voyage to Lake Huron, and they entered the lake by the most protected westernmost channel, making a short portage around a curved rapid at the river mouth.
At this point they were in massive Lake Huron, where they had a choice of routes.
If it was windy, they stayed inside the sheltered line of islands that graced the top of Lake Huron, and travelled 200 miles west to Sault Ste. Marie.
If it wasn't windy, they might have paddled or sailed west across the lake, outside the curving line of islands.
The inside route sounds most interesting, and was probably the route they usually travelled.
Just west of the mouth of the French River they passed a point they called "Grondine," or "groaning," for the sound of the waves that moaned as they swelled over the rocks.
West of that they passed through a narrow channel, just wide enough for a canoe, where the rocks rang like a bell when struck by the waves in the lake.
This place, often mentioned in fur trade journals, was called "La Cloche."
At this point, the brigade was 430 miles from Lachine House.
From The Pathfinder: "On the Great Lakes, the voyageurs often travelled early in the morning and made camp when the dangerous afternoon winds blew. They followed Lake Huron's north shore to Sault Ste. Marie, where they paddled through a narrow canal built many years earlier by the men of the NWC. Their next major stop would be at Fort William, on the north shore of Lake Superior, a few hundred miles to the west."
On Lake Superior, the canoes kept close to shore -- for a good reason.
In June there are frequent heavy fogs on the lake, in July and August there is less fog but the heavy, sudden squalls make the lake unsafe for small, heavily loaded canoes.
To beat the wind, the voyageurs often travelled at night and rested during the day -- they would certainly be on the water by three every morning.
If the wind was blowing in a favorable direction, they might raise a sail and travel at 8 to 10 knots.
But they were often pinned down by high winds for several days at a time; in a normal month for one day out of every two!
And the lake is four hundred miles long.
But they were almost at Fort William, and so I will refer to the Fort William Journals to let you know what happened:
Journal of Fort William Establishment, Outfit 1831 -- Donald McIntosh, C.T., B.231/a/11, HBCA
May 1832 -- Tuesday 15th -- It continues still raining and blowing from north east from which quarter it has blown with little variation for this month past.
Thursday 17th -- We had several showers of rain in the afternoon. Wind southwest.
Saturday 19th -- Thermometer below the freezing point this morning. Weather cloudy and very cold for the season.
Monday 21st -- Blowing a furious gale from north west attended with heavy showers of rain in course of day.
Thursday 24th -- Hard frost last night. We had several showers of rain and hail in course of the day. Blowing a heavy gale from the eastward.
Friday 25th -- I cannot conceive what detains the Express canoe from Canada so long. It rained all the afternoon, wind north east.
Saturday 26th -- Two men arrived here from Lake Nipigon in a small canoe. They say that they walked across the lake on the ice, from which circumstance I am inclined to think that it is owing to the backward spring the express canoe is so late.
Tuesday 29th -- The men were variously employed. The express canoe from Montreal arrived about 6 o'clock P.M. Mr. C.T. Robert Cowie is the Gentleman in charge of the Packet. Blowing very fresh from the north.
Aha! Remember that Alexander Anderson is not travelling in the Express canoes, but in the slower brigade canoes.
Journal of Transactions and Occurrences at Fort William from 1st June 1832 to 1st June 1833, B.231/a/12, HBCA:
June 1832. Saturday 2nd -- It rained throughout the night and all the morning attended with a heavy gale from North East.
Sunday 3rd -- A light canoe arrived from Red River. We are much disappointed to find that the Governor was not on board of her. The backward spring prevented his coming hither. The ice in Lake Winipic [Winnipeg] he found too weak to walk on, and too strong to get through with a boat or canoe.
Tuesday 5th -- Weather clear.
Wednesday 6th -- Fine weather. The Montreal brigade arrived on board of which were Messrs. Lane, Anderson, and Perreyere, an Eclesiastic. Also Mr. C. T. Christie's family. Fine warm weather for the season.
Thursday 7th -- The Montreal Brigade went off this afternoon in five north canoes which they exchanged for the Montreal canoe. One canoe remained today waiting for the Dispatches.
You see that they have already departed Fort William and left their Montreal canoes behind them.
From The Pathfinder: "At this post, the brigade men clambered into five North canoes. Smaller and lighter than the vessels they had been travelling in to this point, these were the only canoes that could be use on the small rivers and difficult portages north of Lake Superior. Their next destination was Lake Winnipeg, hundreds of miles to the northwest, and their immediate route led them through Dog Lake and along many marshy rivers and lakes to wild and beautiful Rainy Lake...."
I will leave that part of the journey to the next post.
4 comments:
Oh, wow! Thanks for this post. What timing! I've been searching for details of the routes and portages coming out of Montreal (Lachine) for days for my novel in progress (working title: Mist O'er the Voyageur). This is invaluable. Also - thanks for mentioning The Pathfinder. I'll look it up. God bless~ReplyDelete
There are other good books I might have mentioned. David Lavender's "Winner Take All" is really good. For more direct info on voyageurs themselves read Carolyn Podruchny's "Making the Voyageur World." The first book has been around for a while & might be in your library, the other is relatively new. Depending where your voyageur is and what the time period is, read the novel "Voyageurs" by Margaret Elphinstone -- its good if he is around in about 1812.ReplyDelete
Thank you for the tips. I'm familiar with Podruchny's book, but haven't read it. I have Elphinstone's "Voyageurs" -- read it about 6 or 7 years ago and am revisiting it. Looks like I could pick up a copy of Winner Take All pretty cheaply too. I'll definitely check it out. God bless~ReplyDelete
As usual, my google searchReplyDelete
to learn more about how my ancesters lived their fur trade lives has led me once more to one of your wonderful article - thanks! This was very informative in helping me imagine how my ancestor Olivier Larocque got from Montreal, where he enlisted in the NWC in1811, to Fort William.


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I have been confused about many things concerning the princing of securities with collateral.
We can prove that today's price of a security( fully collateralized and within the same currency) is the expectation under the risk neutral measure of the discounted(with the collateral rate) payoff. This first application of this theorem is the introduction of the zero coupon bond collateralized . Now, for a matter of simplicity , we would like to work with this zero coupon bond as a numéraire to price classic derivatives such as cap/floor and swaptions. We all remember how to proceed to price those derivatives, change to the T forward measure, the forward libor is a martingale under the T forward measure , assuming a simple log normal process, we have Black's formula. We apply the same thing for the swaption working with the annuity as a numeraire. My confusion is that we often use the rule that says that for all tradable asset and a given numeraire, their ratio is a martingale under the measure related to the numeraire. Let apply this rule to the Zero coupon bond collateralized,... it does not work because it would mean that the zero coupon collateralized and the risky zero coupon have the same price. The result was kind of expected because it is (i think), "all tradable asset without any intermediate payments....." Under the collateralization , there are intermediate payments .
However, we can see that for the pricing of swaption with collateral , the swap rate can be written as a ratio between a floating leg with collateralization( which is tradable) and the annuity with collateralization . In some papers I have read, they quickly conclude that because the floating leg is a tradable asset, its ratio with the annuity collateralized is a martingale under the measure related to this annuity. Why??? We saw a counter example with the zero coupon bond collateralized.
Shall we say : For all collateralized tradable asset, its ratio with a numeraire collateralized at the same collateral rate as the tradable asset is a martingale under the measure related to this numeraire? What about when the tradable asset is collateralized with one currency, and the numeraire with another one ?
Many thanks


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hi to all
as I'm creating a Web App. using struts and servlets. My App. is almost complete excluding one thing i.e. sessions. Here by sessions i mean that as when ever we login to any websites say email account and we know that our inbox can only be accessed "if we login !", this is what i'm thinking to implement.
About Application:
1.this is a small project, i have to create a site which will be used for viewing the movies running in theatres and can also see the upcommings of next seven days. this i implemented with little help of database, just to read the current system date and then show results on web page for the next seven days.
2. next service provided for the users, after registering with the site they can even book tickets. here is where sessions are must as persons who are "not registered must not able to see booking page even if specified url is provided" as app contains a page which collects the user data inorder to book tickets and the url is ( in my application )."/rainbowentertainment/booking.view"
here is what a problem arises as if i enters this url in the browser then the booking page is displayed!
I don't know how to prevent this?
any suggestions regarding this is most welcomed
thank you


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The San Diego Chargers have been trying to work out a deal with the city of San Diego for a long time for a new stadium for the team, but the newly elected Mayor Bob Filner could be the reason the team stays or moves to Los Angeles all by himself. See below for more
Elected Tuesday, Democrat Bob Filner has made it clear that there will be no sweetheart deals. As Brent Schrotenboer of USA Today points out, Filner has said he'll be "the toughest negotiator the Chargers have ever faced." (Given what they paid David Boston, that's a high bar.)
Filner's campaign website contained statements like "our city has been held ransom by our sports teams, a fact we cannot forget," that "the only deal" he'd make "is one that will give something back to the city and its taxpayers," and that a deal could include "partial ownership of the team" and "greater involvement and support of our public schools."
There's no way partial ownership will happen, given league rules.
Still, Filner can talk tough. But the Chargers ultimately can vote with their feet.
For now, the team that moved from L.A. to San Diego in 1961 remains hopeful. "We look forward to working with Mr. Filner," Chargers stadium wrangler Mark Fabiani told USA Today. "We have mutual allies in the labor community, and our proposed project would create thousands of jobs and major construction in three separate sections of the city, so we hope to be able to find common ground here."
If they can't find common ground, the Chargers will be the team for which AEG or someone else is breaking ground in Los Angeles.


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The Prowers County Historical Society will hold the Big Timbers Trading Post fundraiser on Sat. June 7, 2014 starting at 8 a.m.
The Big Timbers Trading Post is a yard sale held at Big Timbers Museum. Spaces are available for folks to bring out and sell their items. Spaces are $10 each. The money goes towards preservation and current projects at the museum.
If you have items to donate to the sale, if you want to reserve a space, or if you need more information please call either 336-2472 or 691-9922.


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I will be limiting my practice to no more than 600 patients in order to provide a level of individualized service and care that is not possible in the current medical environment. This reduction in practice size will afford me the time to focus of proactive, preventive care…."
So begins a letter I received from one of my referring physicians today. He's a good guy, but he must have wanted to make a change. As I read his letter, I noticed it was printed on some fancy stationary emblazoned with a fancy "MDVIP" logo. MDVIP, I learned, is a company "focusing beyond concierge healthcare." So I wondered how this company marketed this to my referring doctor.
This approach to internal medicine cannot be offered in most traditional primary care practices. A physician in a typical practice of 2,500 patients could not provide a comprehensive annual physical examination to all patients, as to do so would require approximately 2,500 hours, or one year. In that case, a physician would have no time available to deliver any care to patients other than the physical examination. By limiting their practice size MDVIP physicians have time to provide both extensive preventive and wellness care and treatment of acute and chronic illness.I found impressive statistics on their website demonstrating how such a practice can provide reduced hospital admissions:
Reductions in hospitalizations are up to 65% for Medicare beneficiaries and up to a staggering 80% for those with commercial insurance. The results are scientific, not anecdotal and are because MDVIP physicians have the time to have much closer relationships with their patients.And then I noticed that you can refer patients to other like-minded "MDVIP" physicians via their network in other cities. Even global rescue exists.
Wow. Our two-tiered health care system is here now, isn't it? The cheese was moved long ago. And some business-minded primary care doctors have been smart enough to skim the walking well with insurance off the top early.


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CPS issues guidelines on closings
On schedule, Chicago Public Schools has published its guidelines on schools closings, consolidations, turnarounds and similar stuff. The material was posted on the the Board of Education's website on October 31, 2012. The Board is supposed to produce a list of schools to be changed by December 1, 2012.
DRAFT GUIDELINES FOR SCHOOL ACTIONS[1]. 2012-2013 SCHOOL YEAR. ISSUED OCTOBER 31, 2012 ("Draft Guidelines")
Chicago Public Schools' ("CPS") Chief Executive Officer ("CEO") publishes the following Draft Guidelines to help the public and all interested stakeholders understand the criteria for school actions. CPS is committed to providing every child in every community with access to a high quality education that prepares them for college and career. To that end, CPS must take every step possible to focus our resources on investments that will improve schools for all students. School action proposals will be presented to the Chicago Board of Education ("Board") to help CPS meet this commitment to all its students so that they may access higher quality school options. All proposals presented to the Board for consideration will reflect a commitment to provide impacted students with the option to enroll in a higher performing school.
For the 2012-2013 school year, the CEO will consider the criteria specified below when recommending any of the following school actions:
reassignment boundary change,
phase-out, or
A. Criteria for Closure, Consolidation, Reassignment Boundary Change, or Phase-Out
The CEO may propose a closure, consolidation, reassignment boundary change or phase-out using the criteria outlined below.
1. Space Utilization or Grade Alignment
Space Utilization
A school may be considered for a closure, consolidation, reassignment boundary change, or phase-out if it is underutilized or overcrowded based on CPS' Space Utilization Standards and student enrollment numbers recorded on the 20th attendance day for the 2012-2013 school year.
Grade Alignment
A school may be considered for a closure, consolidation, reassignment boundary change, or phase-out if two elementary schools, sharing some part of each other's attendance area, individually offer less than Kindergarten through eighth grades and can be reconfigured to a single Kindergarten through eighth grade school.
2. Constraining Factors
The CEO may only propose a closure, consolidation, or reassignment boundary change if:
the students impacted by a closure, consolidation, or reassignment boundary change have the option to enroll in a higher performing school; and,
the resulting space utilization after closure, consolidation, or reassignment boundary change will not exceed the facility's enrollment efficiency range as defined by the CPS' Space Utilization Standards
The CEO may only propose a phase-out if the resulting space utilization after considering a closure, consolidation, or reassignment boundary change would exceed the contemplated receiving facility's enrollment efficiency range as defined by the CPS' Space Utilization Standards
3. Additional Information to Consider
In determining whether to propose a closure, consolidation, reassignment boundary change, or phase-out, the CEO may consider other information including, but not limited to: safety and security, school culture and climate, school leadership, quality of the school facility, school type and programming, family and community feedback received throughout the school year independent from the process described below, analysis of transition planning costs, neighborhood development plans, whether the school has recently been affected by any school actions, changes in academic focus or actions taken pursuant to 105 ILCS 5/34-8.3, or proximity, capacity and performance of other schools in the community.
B. Criteria for Co-location
The CEO may propose a co-location of two schools within the same facility if:
the combined projected enrollment is within the facility's enrollment efficiency range as defined by the CPS' Space Utilization Standards; and
the facility can support the academic programming of both schools.
Furthermore, in determining whether to propose a co-location, the CEO may consider other information, including, but not limited to: safety and security, school culture and climate, school leadership, quality of the facility, and an analysis of transition planning costs.
These Draft Guidelines will be made available on www.cps.edu. Public comments on the Draft Guidelines are welcome and can be submitted on-line, via e-mail (email@example.com), fax (773-553-5345), or by mail (Chicago Public Schools, 125 S. Clark Street, 5th Floor, Chicago, IL 60603, attn: CEO's Office re: Draft Guidelines). Public comments must be received by 5:00 p.m. on November 21, 2012.
Following public comment and prior to announcing proposals for school actions, the CEO will publish the final Guidelines.
Notice of any proposed school action will be provided to the principal, staff, local school council, parents or guardians, Illinois State Senator, Illinois State Representative, and Alderman for the school or schools that are subject to the proposed school action. Notice will include the date, time, and place of public meetings being held to elicit public comment on the proposal
Along with notice of the CEO's proposal, the CEO will issue a draft school transition plan dependent on the unique circumstances of the proposed school action. The draft school transition plan will include, but is not limited to, the following: (1) services to support the academic, social, and emotional needs of students; supports for students with disabilities, homeless students, and English language learners; and support to address security and safety issues; (2) options to enroll in higher performing schools; (3) informational briefings regarding the choice of schools that include all pertinent information to enable the parent or guardian and child to make an informed choice, including the option to visit the schools of choice prior to making a decision; and (4) the provision of appropriate transportation where practicable.
"Closing" or "closure" means closing a school and assigning all of the students enrolled at that school to one or more designated receiving schools.
"Co-location" means two separate, independent schools with their own school leader(s) co-existing within a Chicago Public School facility.
"Consolidation" means the consolidation of two or more schools by closing one or more schools and reassigning the students to another school.
"Higher performing school" means:
receiving a higher level on the Performance Policy for the 2011-2012 school year, or
if the 2011-2012 school year level on the Performance Policy is equal, higher performing means performing higher on the majority of the following metrics:
for elementary schools – for the 2011-2012 school year, percentage of points on the Performance Policy, ISAT composite meets or exceeds score, Value Added reading, and Value Added math,
for high schools – for the 2011-2012 school year, percentage of points on the Performance Policy, PSAE composite meets or exceeds score, EPAS gains percentile in reading, and EPAS gains percentile in math, or
for elementary schools, if the 2011-2012 school year level on the Performance Policy is equal and the school does not have Value Added metrics, higher performing means a higher percentage of points on the Performance Policy and a higher ISAT meets or exceeds score for the 2011-2012 school year, or
for high schools, if the 2011-2012 school year level on the Performance Policy is equal and the school does not have EPAS metrics, higher performing means a higher percentage of points on the Performance Policy and a higher PSAE composite meets or exceeds score.
"ISAT" stands for Illinois Standard Achievement Test.
"ISAT composite" means the score of the combined ISAT reading, math and science tests.
"EPAS" stands for Educational Planning and Assessment System and includes the EXPLORE test for freshmen, the PLAN test for sophomores, and the ACT test for juniors.
"Performance Policy" means the Board of Education of the City of Chicago's School Performance, Remediation and Probation Policy, 12-0725-PO2, establishing standards and criteria for placing a school on Remediation or Probation for the 2012-2013 school year based on assessments administered in Spring 2012 and other performance data from prior school years. The score and status are determined by evaluating key indicators that assess a school's current performance, trend over time and student growth.
"Phase-out" means the gradual cessation of enrollment in certain grades each school year until a school closes or is consolidated with another school.
"PSAE" stands for Prairie State Achievement Examination.
"Reassignment boundary change" means an attendance area boundary change that involves the reassignment of currently enrolled students
"School action" means any school closing; school consolidation; co-location; boundary change that requires reassignment of students, unless the reassignment is to a new school with an attendance area boundary and is made to relieve overcrowding; or phase-out.
"Space Utilization Standards" mean the Chicago Public Schools' Space Utilization Standards, found at: http://www.cps.edu/About_CPS/Policies_and_guidelines/Documents/SpaceUtilizationStandards.pdf, establishing standards for determining enrollment efficiency, overcrowding, and underutilization.
"Value Added" means the metric that assesses school effects on students' academic growth, controlling for student characteristics (including, but not limited to, student mobility rates, poverty rates, special education status and bilingual education status), grade level, and prior performance through a regression methodology. Academic growth is measured by the change in scale score points on the ISAT from one year to the next.
[1] Issuing these Draft Guidelines is consistent with the Illinois School Code (105 ILCS 5/34-230) requiring that the CEO publish guidelines outlining the criteria for school actions.


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Move over Gilroy, there is a new outlet mall in town.
The Paragon Outlets Livermore Valley opened its doors Thursday and people flooded in by the thousands.
Traffic on nearby I-580 started backing up for the 10 a.m. grand opening. The parking lot was filled to capacity by noon.
Paragon is the first new outlet mall to open in California since 2001.
The $150-million, 543,000-square-foot outlet center has 130 stores.
"Paragon Outlets Livermore Valley is one of only five outlet centers that will open in the United States this year," Paragon Outlet Partners Principal Robert A. Brvenik said in a press release.
And apparently outlet shopping isn't just a daytime event anymore. The mall will be stay open until 11 p.m. on Thursday and midnight on Friday and Saturday of its grand opening weekend.
The anchor stores are Bloomingdale's, Last Call by Neiman Marcus and Saks Fifth Avenue OFF 5TH.
Other stores:
- Armani Outlet
- Barneys New York Outlet
- Burberry
- Coach Factory
- Elie Tahari
- Kate Spade New York
- J.Crew
- Michael Kors
- Prada
- Polo Ralph Lauren
- Tommy Hilfiger
All of the above are open for business and all promise savings of 25 to 65-percent discounts every day.


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Managing Director & Senior Partner
Washington, DC
Exploration and experimentation are critical to drive meaningful change and deliver material outcomes.
Sesh Iyer is a senior partner in the Technology Advantage, the Technology, Media & Telecommunications, and the Energy practices. He leads BCG's work in the Americas in lean services and operations in technology and IT, cloud computing, and the firm's work with the IT Capability Maturity Framework (IT-CMF). He is a member of BCG's Big Data and Advanced Analytics advisory board.
Since joining BCG in 2008, Sesh's client work has focused on the high tech, IT services, energy, and financial services sectors. He has worked extensively in North America, Europe, and Asia, helping clients transform their businesses and their IT functions. His expertise spans a wide range of topics, including business strategies, large-scale technology-enabled change, and competitive advantage through the use of technology and data.
Sesh anchors on bringing people together into high performance teams to deliver material and long-lasting impact to BCG's clients. He believes in the art of exploration and the science of experimentation to translate ideas into real outcomes.
Prior to joining BCG, he worked at a Motorola, Accenture, the Software Engineering Institute, and two start-up firms.


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Leonard began his one-year term as AWWA president on June 11
Mike Leonard, water operations manager for the City of Roswell, Ga., assumed the presidency of the American Water Works Association (AWWA) on June 11. His one-year term as president of AWWA, the world's largest and oldest water organization, began at a gavel-passing ceremony held during AWWA's Annual Convention and Exposition (ACE08).
"As water professionals and citizens of the planet, we have an obligation to be the very best stewards we can be of our water resources, our systems and our public health," said Leonard, who has served as a member of the Board of Directors of the Georgia section of
AWWA, and has been an AWWA member since 1974. "I thank you all so much for having the opportunity to serve as your president as we take on these challenges together."
Leonard has devoted his career to safe water and has been honored with multiple awards, including the AWWA George Warren Fuller Award (2001) and Diamond Pin (2002), as well as three bronze medals and several special achievement awards from the U.S. Environmental Protection Agency (EPA). He has served with distinction as general manager and chief administrative officer for the Atlanta-Fulton County Water Resources Commission, chief of the drinking water section at EPA and client technical services manager at Brown and Caldwell.
Leonard succeeds Nilaksh Kothari, general manager of public utilities for Manitowoc, Wis., as AWWA president. The new president-elect is Craig Woolard, treatment division director of the Anchorage (Alaska) Water and Wastewater Utility.
"Mike is going to be a superb leader for AWWA," Kothari said. "Over the past year I've had the opportunity to work closely with him and get to know him better as both a colleague and a friend. His depth of experience in the water community—from utilities to EPA to the consulting world—makes him the right man for the job at just the right moment."
After he accepted the president's gavel from Kothari, Leonard outlined his top priorities for the year, including promoting the value of water professionals and their work, recruiting new water professionals to replace an expected wave of industry retirements, increasing member participation in AWWA and strengthening Section-Association cooperation.


text: The whole Poplar community pulls together to prepare for the annual Summer Fete. This year, with the introduction of a baby show, the midwives will be more involved than ever, especially Trixie, who assumes responsibility for securing a celebrity judge. At the ante-natal clinic, Jenny meets Nora, an impoverished mother of eight, who is distraught that she may soon have another mouth to feed. Jenny's attempts to reassure her fall on deaf ears, and a desperate Nora takes matters into her own hands.


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A classy chip from Federico Higuain last Saturday was just the thing to finish off the New York Red Bulls, and more than enough to win the Columbus Crew playmaker his first AT&T Goal of the Week award of the season.
Higuain's goal captured nearly 41 percent of the vote for the Week 24 award, easily outpacing a crowded field and second-place winner Felipe Martins of Montreal.
The goal – which was the subject of MLSsoccer.com's Anatomy of a Goal series this week – capped the Crew's 2-0 upset win over the Red Bulls at Crew Stadium, in front of a euphoric crowd and new team owner Anthony Precourt.
Final Votes - Week 24 (online poll and text vote):
1. Federico Higuain (CLB): 40.74%
2. Felipe Martins (MTL): 17.68%
3. Camilo Sanvezzo (VAN): 16.73%
4. Kei Kamara (SKC): 12.99%
5. Landon Donovan (LA): 11.86%


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Dr. Seth Moore: Studying and Managing Wolves
August 10, 2011
Dr. Seth Moore is Director of Biology and Environment with the Grand Portage Band of Lake Superior Chippewa.
The Grand Portage Reservation is located in the extreme northeast corner of Minnesota, on the North Shore of Lake Superior in Cook County. Bordered on the north by Canada, on the south and east by Lake Superior and on the west by Grand Portage State Forest, the reservation encompasses a historic fur trade site with spectacular northwoods Lake Superior shoreline.
The band engages in fisheries and wildlife research projects throughout the year, working with moose, wolves, fish, deer, grouse, and environmental issues. Dr. Moore appears regularly on WTIP North Shore Community Radio's A.M. Calendar program, talking about the band's current and ongoing projects.
In this segment, Dr. Moore talks about studying and managing grey wolves on reservation lands. Produced by Carah Thomas.
Photo courtesy Grand Portage Trust Lands