Discover the innovative and creative projects that highlight my journey throu...dylandmeas
Discover the innovative and creative projects that highlight my journey through Full Sail University. Below, you’ll find a collection of my work showcasing my skills and expertise in digital marketing, event planning, and media production.
Attending a job Interview for B1 and B2 Englsih learnersErika906060
It is a sample of an interview for a business english class for pre-intermediate and intermediate english students with emphasis on the speking ability.
What are the main advantages of using HR recruiter services.pdfHumanResourceDimensi1
HR recruiter services offer top talents to companies according to their specific needs. They handle all recruitment tasks from job posting to onboarding and help companies concentrate on their business growth. With their expertise and years of experience, they streamline the hiring process and save time and resources for the company.
Memorandum Of Association Constitution of Company.pptseri bangash
www.seribangash.com
A Memorandum of Association (MOA) is a legal document that outlines the fundamental principles and objectives upon which a company operates. It serves as the company's charter or constitution and defines the scope of its activities. Here's a detailed note on the MOA:
Contents of Memorandum of Association:
Name Clause: This clause states the name of the company, which should end with words like "Limited" or "Ltd." for a public limited company and "Private Limited" or "Pvt. Ltd." for a private limited company.
https://seribangash.com/article-of-association-is-legal-doc-of-company/
Registered Office Clause: It specifies the location where the company's registered office is situated. This office is where all official communications and notices are sent.
Objective Clause: This clause delineates the main objectives for which the company is formed. It's important to define these objectives clearly, as the company cannot undertake activities beyond those mentioned in this clause.
www.seribangash.com
Liability Clause: It outlines the extent of liability of the company's members. In the case of companies limited by shares, the liability of members is limited to the amount unpaid on their shares. For companies limited by guarantee, members' liability is limited to the amount they undertake to contribute if the company is wound up.
https://seribangash.com/promotors-is-person-conceived-formation-company/
Capital Clause: This clause specifies the authorized capital of the company, i.e., the maximum amount of share capital the company is authorized to issue. It also mentions the division of this capital into shares and their respective nominal value.
Association Clause: It simply states that the subscribers wish to form a company and agree to become members of it, in accordance with the terms of the MOA.
Importance of Memorandum of Association:
Legal Requirement: The MOA is a legal requirement for the formation of a company. It must be filed with the Registrar of Companies during the incorporation process.
Constitutional Document: It serves as the company's constitutional document, defining its scope, powers, and limitations.
Protection of Members: It protects the interests of the company's members by clearly defining the objectives and limiting their liability.
External Communication: It provides clarity to external parties, such as investors, creditors, and regulatory authorities, regarding the company's objectives and powers.
https://seribangash.com/difference-public-and-private-company-law/
Binding Authority: The company and its members are bound by the provisions of the MOA. Any action taken beyond its scope may be considered ultra vires (beyond the powers) of the company and therefore void.
Amendment of MOA:
While the MOA lays down the company's fundamental principles, it is not entirely immutable. It can be amended, but only under specific circumstances and in compliance with legal procedures. Amendments typically require shareholder
RMD24 | Retail media: hoe zet je dit in als je geen AH of Unilever bent? Heid...BBPMedia1
Grote partijen zijn al een tijdje onderweg met retail media. Ondertussen worden in dit domein ook de kansen zichtbaar voor andere spelers in de markt. Maar met die kansen ontstaan ook vragen: Zelf retail media worden of erop adverteren? In welke fase van de funnel past het en hoe integreer je het in een mediaplan? Wat is nu precies het verschil met marketplaces en Programmatic ads? In dit half uur beslechten we de dilemma's en krijg je antwoorden op wanneer het voor jou tijd is om de volgende stap te zetten.
Affordable Stationery Printing Services in Jaipur | Navpack n PrintNavpack & Print
Looking for professional printing services in Jaipur? Navpack n Print offers high-quality and affordable stationery printing for all your business needs. Stand out with custom stationery designs and fast turnaround times. Contact us today for a quote!
RMD24 | Debunking the non-endemic revenue myth Marvin Vacquier Droop | First ...BBPMedia1
Marvin neemt je in deze presentatie mee in de voordelen van non-endemic advertising op retail media netwerken. Hij brengt ook de uitdagingen in beeld die de markt op dit moment heeft op het gebied van retail media voor niet-leveranciers.
Retail media wordt gezien als het nieuwe advertising-medium en ook mediabureaus richten massaal retail media-afdelingen op. Merken die niet in de betreffende winkel liggen staan ook nog niet in de rij om op de retail media netwerken te adverteren. Marvin belicht de uitdagingen die er zijn om echt aansluiting te vinden op die markt van non-endemic advertising.
Unveiling the Secrets How Does Generative AI Work.pdfSam H
At its core, generative artificial intelligence relies on the concept of generative models, which serve as engines that churn out entirely new data resembling their training data. It is like a sculptor who has studied so many forms found in nature and then uses this knowledge to create sculptures from his imagination that have never been seen before anywhere else. If taken to cyberspace, gans work almost the same way.
Putting the SPARK into Virtual Training.pptxCynthia Clay
This 60-minute webinar, sponsored by Adobe, was delivered for the Training Mag Network. It explored the five elements of SPARK: Storytelling, Purpose, Action, Relationships, and Kudos. Knowing how to tell a well-structured story is key to building long-term memory. Stating a clear purpose that doesn't take away from the discovery learning process is critical. Ensuring that people move from theory to practical application is imperative. Creating strong social learning is the key to commitment and engagement. Validating and affirming participants' comments is the way to create a positive learning environment.
Enterprise Excellence is Inclusive Excellence.pdfKaiNexus
Enterprise excellence and inclusive excellence are closely linked, and real-world challenges have shown that both are essential to the success of any organization. To achieve enterprise excellence, organizations must focus on improving their operations and processes while creating an inclusive environment that engages everyone. In this interactive session, the facilitator will highlight commonly established business practices and how they limit our ability to engage everyone every day. More importantly, though, participants will likely gain increased awareness of what we can do differently to maximize enterprise excellence through deliberate inclusion.
What is Enterprise Excellence?
Enterprise Excellence is a holistic approach that's aimed at achieving world-class performance across all aspects of the organization.
What might I learn?
A way to engage all in creating Inclusive Excellence. Lessons from the US military and their parallels to the story of Harry Potter. How belt systems and CI teams can destroy inclusive practices. How leadership language invites people to the party. There are three things leaders can do to engage everyone every day: maximizing psychological safety to create environments where folks learn, contribute, and challenge the status quo.
Who might benefit? Anyone and everyone leading folks from the shop floor to top floor.
Dr. William Harvey is a seasoned Operations Leader with extensive experience in chemical processing, manufacturing, and operations management. At Michelman, he currently oversees multiple sites, leading teams in strategic planning and coaching/practicing continuous improvement. William is set to start his eighth year of teaching at the University of Cincinnati where he teaches marketing, finance, and management. William holds various certifications in change management, quality, leadership, operational excellence, team building, and DiSC, among others.
1. GC1: Job Roles in the Production Arts Industry
Within the Production Arts Industry, there are many different roles that are very important when
managing a show. There is a hierarchal structure that shows the different relationships between the
varieties of roles within the production arts company and helps to understand their importance of
and their different responsibilities within the team to help the show run smoothly and efficiently.
This is the Hierarchy Structure for In the Heights Musical:
Stage Manager
The Stage Manager is at the top of the Hierarchy because it has to look over everyone to make sure
everything is under control and has to coordinate all aspects of the company to ensure the
successful delivery of the performance. This involves a variety of activities such as organising the
production and coordinating communication between the various other roles. It is also about
working with all the different managers, actors and technicians as well as liaising with the front of
house staff and director. Therefore people management and organisation skills are highly important
within this role. The Stage Manager needs to have good understanding of both the technical and
artistic elements of the performance so they can ensure it is delivered exactly to the director’s
requirements. They have to be involved in the rehearsals through to the live performance where
they will be required to deal with any emergencies or issues that may occur before and during the
performance.
The different Roles and responsibilities will vary depending of the size of the performance, but the
tasks will typically be the same. They will include:
Distributing all information and responsibilities to the other managers and departments.
Supervising over the whole productions and when the set, lighting and sound are installed,
and when all the equipment is removed.
Ensuring the company’s welfare and maintaining a good working knowledge of all relevant
health and safety legislation and good working practice.
Running the backstage and onstage areas during performances.
Stage Manager
Assistant
Costume
AS
Manager
Assistant
Props
Props
Mistress
Costume
Mistress
DS
Manager
FOH
Manager
Lighting
Designer
Sound
Operator
Sound
Designer
Lighting
Operator
2. Liaising with the director, stage personnel and other technical departments, e.g. costume,
lighting, sound.
And making sure the whole performance in successful and professionally.
A Stage Manager is the one who has overall responsibilities for the stage management and the
smooth execution of the production. Once the house opens for a performance, the stage manager
controls all aspects of the performance by calling the cues for all transitions and acting as
communications for the cast and crew. Within the Stage Management team there will also be a
“Deputy Stage Manager” and “Assistant Stage Manger”. These roles are important because they will
help with any problems that occur that the head Stage Manager cannot do efficiently.
Sound Designer
A Sound Designer is very important within the Production Arts Industry. It is responsible for the
process of specifying, acquiring, manipulating and generating audio elements. The sound designer
will also have to work with the director to make sure it is reaching the directors requirements and
also communicate with the production crew to define the preferred atmosphere and achieve the
overall performance goal. The Sound Designer also will create appropriate sound effects and also
alter the sound so the correct impact is achieved.
The roles, responsibilities and skills of a sound designer will include:
Operating a variety of digital equipment to create and mix sounds.
Be able to communicate with director and crew members and also the lighting operator to
help achieve common sound goals.
Manipulating, Generating, Designing and acquiring all sound elements.
Have creativity to be able to imagine different effects.
Ability to work under pressure and the changing of deadlines and requirements.
Sound designers first read the script and research the play to learn its plot and characters as well as
its period, mood and contextual elements. Additionally, the designer searches the script for
information specific to the sound design, such as on stage noise for example the ringing of a
telephone as well as offstage noises such as trains or storms. The designer also looks for scenes in
which sounds could be used to support the mood of the play. Often referred to as atmospheric
sounds, these may not be specified in the script but can be added to help the audience understand
the emotional and physical environments of the play. After designing all the sound elements of a
performance they will them communicate with the Sound operator who will bring the ideas and
designs to life.
Sound Operator
The sound operator is underneath the Sound Designer within the hierarchal structure of the
Production Arts Industry. Their main concern is the recording, manipulation, mixing and producing of
the sound. They have to communicate with the director and crew of the production but mainly the
3. Sound Designer to have the appropriate sounds and also the director’s requests and intentions. They
need to be present within all rehearsals and tech/dress runs to make sure the performance runs
smoothly and efficiently and operator of the final show.
The roles, responsibilities and skills will include:
Checking all equipment runs smoothly and is present and ready.
Communication skills with Sound Designer, crew members and director.
Manipulating, Generating, Mixing and producing all sound elements.
Pay close attention in case they are required to move position of any equipment.
Ability to anticipate and think on the feet, so that in case anything goes wrong during the
performance they can get the performance back on track.
Good timing to make sure the lighting and sound cues are in time with each other and are
correct cues for the show.
FOH Manager
The Front of House Manager has many different duties and responsibilities for example: setting up
the front area of the venue; making sure the customers have the best experience; organising
refreshments; the paying system and also the overall organisation of the event. They will be present
on the night to oversee the people attending that night’s performance and make sure the venue
facilities are running smoothly. They will also help run the show at the start and end and if there are
any intervals within the production to sell refreshments and sell tickets and generally help the
audience with any questions or queries or complaints they may have. This role is the first point of
contact with the public so you need to be very sociable and talkative. The Front of House Manager
will also communicate with the Marketing Team to help with the sale and advertising of the
performance.
Their main roles, responsibilities and skills will include:
Ensure all performances and events are appropriately staffed with the correct Front of
House team.
Monitor the staff’s work performance, timekeeping and general discipline and implement
staff dress code.
Take responsibility for all FOH sales, including the ordering of programmes and stock and
the supervision of sales systems and stock control.
Implement procedures for cashing up and the use of floats and ensure that the security of
cash and stock is protected.
Work closely with the Stage Manager and the Front of House Team to ensure the theatre
and all events operate smoothly and efficiently.
Work with the marketing department regarding customer care to implement monitoring
data and user surveys for audience events.
Refreshments are all in stock.
Communications skills are important whilst communicating with the customer.
4. The Front of Manager also has a Front of House team who they need to communicate to and to
supervise. They need to be able to give clear directions to this team so that they all have specific jobs
roles within the performance.
Lighting Designer
A Lighting Designer is very important within the Production Arts Industry. It is responsible for the
process of specifying, acquiring, designing and generating all lighting elements. The lighting designer
will also have to work with the director to make sure it is reaching the directors requirements and
also communicate with the production crew to define the preferred atmosphere and achieve the
overall performance goal.
The roles, responsibilities and skills of a lighting designer will include:
Operating a variety of digital equipment to create different lighting states.
Be able to communicate with director and crew members and also the sound operator to
help achieve common sound goals.
Generating, Designing and acquiring all lighting effects.
Have creativity to be able to imagine different effects.
Ability to work under pressure and the changing of deadlines and requirements.
The Lighting designer looks for scenes in which lighting could be used to support the mood of the
play. Often referred to as atmospheric lighting, these may not be specified in the script but can be
added to help the audience understand the emotional and physical environments of the play. After
designing all the lighting elements of a performance they will them communicate with the lighting
operator who will bring the ideas and designs to life.
Lighting Operator
The lighting operator is underneath the Lighting Designer within the hierarchal structure of the
Production Arts Industry. Their main concern is the producing of the lights. They have to
communicate with the director and crew of the production but mainly the Lighting Designer to have
the appropriate lighting effects and states and also the director’s requests and intentions. They need
to be present within all rehearsals and tech/dress runs to make sure the performance runs smoothly
and efficiently and operator of the final show.
The roles, responsibilities and skills will include:
Checking all equipment runs smoothly and is present and ready.
Communication skills with Lighting Designer, crew members and director.
Producing all Lighting effects and states
Pay close attention in case they are required to move position of any equipment.
Ability to anticipate and think on the feet, so that in case anything goes wrong during the
performance they can get the performance back on track.
Good timing to make sure the lighting and sound cues are in time with each other and are
correct cues for the show.
5. Costume Mistress
The Costume Mistress is responsible for supervising all wardrobe related activities and issues during
the course of a production. The costume Mistress is responsible for all dressers working on a
production. The Costume Mistress is in constant communication with the stage manager and
sometimes the director to make sure the costume is correct at all time. They help to coordinate and
assign dressers to specific performers and tasks and help determine where and how costume
changes are made. Generally, the wardrobe supervisor decides whether a point in a production
requires a quick change backstage, or if there is time for a normal change in the dressing room. All
dressers report directly to the Costume Mistress with any problems, or questions and they act as
primary liaison between dressers, the costumer, and stage management.
The wardrobe supervisor's primary responsibilities include:
The care and proper maintenance of all costumes, shoes, undergarments, hats and costume
related personal props such as gloves, jewellery, parasols, fans and pocket books.
To ensure the proper labelling, hanging, storage and preset of all costume pieces.
To create and execute a proper cleaning schedule for all garments, ensuring
that laundry and dry cleaning are done on a regular basis between performances. They also
coordinate the regular changing of dress shields, the application of garment freshening sprays
and providing clean undergarments to the performers.
To ensure that all costumes are properly pressed or steamed prior to each performance.
The wardrobe supervisor also regularly inventories and inspects all costumes and coordinates all
costume repairs.
At the end of a production run, the wardrobe supervisor oversees all aspects of the costume
strike. In the case of rented costumes.
Organisation Skills are key.
Props Mistress
The Props Mistress is responsible for purchasing, acquiring and/or manufacturing any props needed
for a production. They also need to ensure all props are present at the start of each show and
maintain present and correct throughout all the productions. The props mistress also works with
other members of the production team, managing the physical appearance of the stage or set, for
example they might work with the director and set designer to help make sure everything is correct.
Overall the Props Mistress is responsible for the set up and organization of the props. They also
ensure that selected props suit the production and overall design, and that they accurately reflect
the production's time period and culture. The Props Mistress oversees the staff, and the smooth
running, of the Props Department, and make sure it is working to a high standards of accuracy and
detail.
The Props Mistress responsibilities include:
Break down the script, and determine what props are required.
6. Draw up complete properties lists, and set up and label the properties tables, which are used
during production.
Organisation Skills are key.
Allocate budgets to purchase, hire or create props, and plan and manage these budgets.
The work may include planning, designing and adapting any special hand or set props
required by the production.
They attend all rehearsals, in order to note props' placement and use, and any change in
action that affects props.
The care, maintenance and possible operation of all props
The Props Mistress usually oversees the work of a number of people, and must therefore have
excellent leadership, management and motivational skills. As Heads of Department they should be
able to cope with pressure. Also they should have excellent practical, organisational, planning and
time management abilities are vital, as are written and oral communication and presentation skills.