Problem: Article: Climate conditions can have a big impact on the quality of exterior paint, especially when it’s fresh. Try to schedule your project for a stretch that’s not too hot, cold or humid. Be particularly wary of precipitation, as excess moisture can easily undo all of your hard work.  The next couple of days after you paint should also be clear in order to give new paint a chance to set properly. Weekends are an ideal time for painting a garage door, as you’ll have more time on your hands and won’t need to come and go as often. Gently wipe away any caked-on dust, dirt or grime clinging to the outer surface of the door. Scrub from top to bottom, side-to-side, and don’t neglect the corners. A filthy garage door will be harder to paint, and may result in a sloppy, uneven finish.   Though some professionals swear by certain specialty cleaning products, the best way to do this is simply to use a sponge or cloth soaked in soapy water.  Rinse the door with a hose and blot it dry with a clean towel prior to painting. Never apply fresh paint to a wet surface. Before you begin painting, make sure the area beneath the garage door is covered on both sides. A dropcloth or plastic tarp will help prevent stains from dripping or splattering paint. It will also be useful for catching dirt and other debris that’s loosened from the door. If you don’t have a dropcloth or tarp, an old blanket or a few sheets of overlapping newspaper will also do the trick. Use painter’s tape to cover any spots where paint might be spread accidentally,  like the edges of the door where it meets house or surrounding brick or stucco. This can save you a lot of scouring and scraping later on should your painting project get a little messy.  Line up the tape with care and accuracy. Otherwise, you could end up with uneven edges. Look for wide rolls of tape to provide the maximum margin of error.
Summary: Pick a day with mild, clear weather to paint. Give the garage door a thorough cleaning. Lay down a protective dropcloth. Tape off areas you don’t want painted.

Problem: Article: To use this method, you should know the length of the triangle’s base and the length of the two equal sides. You can also use this method if you are given line segments representing the base and sides instead of the measurements. For example, you might know that the base of a triangle is 8 cm, and its two equal sides are 6 cm, or you might be given two lines, one representing the base, and one representing the two sides. Use a ruler to make sure that your line is measured exactly. For example, if you know that the base is 8 cm long, use a sharp pencil and a ruler to draw a line exactly 8 cm long.  If using a given line segment instead of a measurement, draw the base by setting the compass to the width of the provided base. Make an endpoint, then use the compass to draw the other endpoint. Connect the endpoints using a straightedge. To do this, open the compass to the width of the equal side lengths. If you are given the measurement, use a ruler. If you are given a line segment, set the compass so that it spans the length of the line. For example, if the side lengths are 6 cm, open the compass to this length. Or, if provided a line segment, set the compass to the segment's length. To do this, place the tip of the compass on one of the base’s endpoints. Sweep the compass in the space above the base, drawing an arc. Make sure the arc passes at least halfway across the base. Without changing the width of the compass, place the tip on the other endpoint of the base. Draw an arc that intersects the first one. Use a ruler to draw lines connecting the point where the arcs intersect to either endpoint of the base. The resulting figure is an isosceles triangle.
Summary: Assess what you know. Draw the base. Set the compass. Draw an arc above the base. Draw an intersecting arc above the base. Draw the sides of the triangle.

Problem: Article: If you are not directing the script you wrote, you will need to find a competent director that understands your vision for the story. The director is responsible for overseeing the creative aspects of the movie. They will work with cast and crew to achieve the vision laid out in the script. They are considered separate from the production staff and they answer to the producer. As the producer of the movie, you will check in and communicate with the director regularly to ensure the shoot goes well. The production staff will help you maintain the budget and stay organized before and during the shoot. The production staff usually includes, at a minimum:  The Production Manager: This person supervises the physical aspects of the production, including personnel, budget, and scheduling. It is their job to ensure the movie stays on schedule and on budget. The First Assistant Director: This person assists the production manager and the director. They maintain a working environment where the director, the cast, and the crew can focus on their work. They manage the cast and crew scheduling, the equipment, the script, and the set. The Location Manager: This person is responsible for securing locations for the movie. They arrange permits or fees needed to use a location to shoot scenes. The Casting Director: This person chooses the actors or actresses for the film. They will run auditions for the cast and decide who ends up starring in the movie. The size of the film will dictate how large the film crew is. If you are making a small, independent film with a limited budget, you may have a very basic film crew. At a minimum, you will need a film crew that includes:  The Director of Photography: This person is responsible for the camera and lighting crew. They may decisions on the framing and lighting of shots in collaboration with the director. They are considered the senior creative crew member after the director. The Camera Operator: This person directs the camera based on the decisions of the director of photography. In some cases, the director of photography will also be the camera operator, especially on low budget movies. The Gaffer: This person is the head of the lighting department. They come up with a lighting plan for the production, working with the director of photography and the director. The Key Grip: This person is the head of the set operations department. They make sure the correct lighting and equipment is present on set. They work closely with the director of photography. The Sound Operator: This person is responsible for making sure the sound is captured correctly on set. They will arrange microphones on set so the cast can be heard on film. They also log audio for post production. The production designer is responsible for creating the visual appearance of the film, from the settings to the costumes to the makeup. They run the art department on set and work closely with the director and the director of photography to achieve the right look for the movie. The production designer may have an art director and a costume designer working underneath them.
Summary:
Find a director. Assemble the production staff. Find a director of photography and a camera crew. Get a production designer.