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South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
Mcconkey on Thailand Jour, Supplanting Any and All Spurious History Continued on Page 8
NEWS FOR OPERA TORS AND OWNERS olume 1, number 3 Dec. '88 Ancient History "The Brown Stabilizer" That's what I wanted to call it. It wasn't just ego (that came later!). I thought it needed a simple, honest, "70's" kind of natural name, a pure name, not a stupid, gimmicky name like "Steadicam." It was Ed DiGiulio's suggestion, which I hated immediately. Of course, as he predicted, the word has now become simply a word, a noble word, meaning exactly what it says, and in fact , I am daily (well, yearly...), grateful that he prevailed and that we didn't call it the bloody Brown Stabilizer! In any event, I recently unearthed some early pictures, and have been inspired to relate the one-and-only true version of the birth of our noble gadget. So here it is: the truth du McConkey on Thailand jour, supplanting any and all spurious History continued on page 8 For three months in the Spring of McCONKEY: The first day it 1988, Larry McConkey worked on was 1200 in the sun, and the humidity Brian De Palma's new feature, made it feel like it was virtually "Casualties ofWar." Thefilm is raining all the time. I had a long coming out in early 1989. tracking shot down a dirt street in the Vietnamese village set. Now, I tend to be very careful not to wear myself LEITER: Was it any fun? out during a shoot, and I get as much McCONKEY: Yes. I had never rest as possible between takes and as been to Southeast Asia before, and much help from the crew as I can, but Thailand is now one of my favorite even so, after four or five takes I was places in the world. -
Yolngu Boy Tail Credits
Directed by Stephen Johnson Producers Patricia Edgar Gordon Glenn Writer Chris Anastassiades Executive Producers Patricia Edgar Stephen Johnson Associate Producers Galarrwuy Yunupingu Mandawuy Yunupingu Director of Photography Brad Shield Editor Ken Sallows Original Music By Mark Ovenden Production Designer Sarah Stollman Casting Director Maggie Miles Line Producer Elisa Argenzio Lorrpu John Sebastian (Sebbie) Pilakui Botj Sean Mununggurr Milika Nathan Daniels Yuwan Lirrina Mununggurr Matjala Makuma Yunupingu Dawu Nungki Yunupingu Maralitja Man Mangatjay Yunupingu Policeman Gurkula Lunginy Gerard Buyan Garrawurra Botj (9 years) Garritjpi Garawirrtja Lorrpu (9 years) Buywarri Mununggurr Milika (9 years) Buwata Mununggurr Ruwu (I Wanna Kick!) Yithangarra Wunungmurra Lorrpu's Father Lalambarri Yunupingu Milika's Father Balupalau Yunupingu Botj's Dad Malati Yunupingu Botj's Mother Merriki Ganambarr Umpire Garry Dhurrkay Football Coach Vernon Kenneth Lesley Patullo Dhunthun Andrew Galitju Burarrwanga Crying Woman Allyson Mills Ngarli Woman at Hospital Mary Yunupingu Djarrak Player Grant Gambley Crowd #1 Gurumin Marika Policeman at Wharf Joe Clements 1st Assistant Director John Martin Script Editors Gordon Glenn Stephen Johnson Sound Recordist Andrew Belletty Continuity Chrissie O'Connell Costume Designer Jill Johanson Make Up and Hair Designer Trish Glover Dramaturg Nico Lathouris Location Manager Peter Muston Production Accountant Janine Martorejo Moneypenny Services Post Production Supervisor Elisa Argenzio Focus Puller Brett Matthews Clapper -
Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP
Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP 12 Armourer 1 All Runners Board Operator Boom Operator 2 Art Dept Junior Chargehand Props Camera Trainee Electrician Costume Trainee Post Prod. Supervisor Directors Assistant Production Buyer Electrical Trainee / junior Rigging Electrician Jnr Costume Asst Senior Make-up Artist Make-up Traineee SFX Technician Producers Assistant Stand-by Art Director Production Secretary Props Trainee / junior 13 1st Asst. Editor Script Supervisor's Assistant Art Director Sound Trainee / junior Convergence Puller DIT 3 2nd Assistant Editor 3rd Assistant Director 14 ?Crane Technician? Accounts Assistant/cashier Grip Art Dept Co-ordinator Location Manager Art Dept Assistant Prop Master Asst Production Co-ordinator Costume Assistant 15 Costume Supervisor Junior Make-up & Hair Best Boy Electrician Location Assistant Best Boy Grip Rigging Gaffer 4 Data Wrangler Make Up Supervisor Video Playback Operator Scenic Artist Script Supervisor 5 Assistant Art Director Sculptor Costume Dresser Set Decorator Costume Maker Stereographer AC Nurse Post Production Co--ordinator 16 Focus Puller Sound Asst (3rd man) Production Accountant Unit Manager Stills Photographer 6 Assistant SFX technician 17 Dubbing Editor Asst. Location Manager Researcher 18 1st Assistant Director Camera Operator 7 2nd Assistant Accountant Costume Designer Clapper Loader Gaffer Draughtsperson Hair & Make Up Chief/Designer Key Grip 8 Assistant Costume Designer Production Manager Dressing Props Prosthetic Make Up Designer Graphic Artist Senior SFX Technician Sound Recordist 9 Illustrator Supervising Art Director Stand By Construction Stand By Costume 19 Individual Negotiation => Stand By Props Casting Director Storyboard Artist Director Director of Photography 10 Make Up Artist Editor Production Co-Ordinator Line Producer / UPM Production Designer 11 1st Assistant Accountant SFX Supervisor 2nd Assistant Director Senior Video Playback Operator Storeman/Asst Prop Master . -
Collective Agreement Film
Collective Agreement Film between Alliance québécoise des techniciens de l’image et du son and Association québécoise de la production médiatique From October 5, 2015 to September 30, 2018 Table of Contents Chapter 1 Purpose and Scope of Application ................................................................................1 1.1 Purpose .................................................................................................................................................... 1 1.2 Scope of Application ................................................................................................................................ 1 1.3 Producers Bound ..................................................................................................................................... 1 1.4 Employees Not Covered .......................................................................................................................... 1 1.5 Trainees and Apprentices Not Covered ................................................................................................... 1 1.6 Foreign Resident ...................................................................................................................................... 1 1.7 Quebec Resident ...................................................................................................................................... 2 1.8 Application to Live Performance Recordings ........................................................................................... 2 1.9 -
TN-RRFC-Catalog-With-Cover.Pdf
CATALOG January 1, 2017 – December 31, 2017 Recording, Radio, Film Connection & CASA Schools Administrative Offices 6300 Wilshire Blvd. Suite #640 Los Angeles, CA 90048 (800) 295-4433 www.recordingconnection.com | www.radioconnection.com | www.filmconnection.com | www.casaschools.com | www.rrfedu.com TABLE OF CONTENTS ABOUT RECORDING, RAD IO, FILM CONNECTION & CASA SCHOOLS CATAL OG ................................ ....... 5 ADDENDUM ................................ ................................ ................................ ................................ ....................... 5 WELCOME LETTER ................................ ................................ ................................ ................................ ............ 6 INTRODUCTION TO RECO RDING, RADIO, FILM C ONNECTION & CASA SCH OOLS ................................ ... 7 MISSION ................................ ................................ ................................ ................................ ............................ 7 INTRODUCTION ................................ ................................ ................................ ................................ ................. 7 OUR TRADITION ................................ ................................ ................................ ................................ ................ 7 TRAINING FACILIT IES ................................ ................................ ................................ ................................ ....... 7 SCHOOL LICENSING, AF FILIATIONS AND -
Location Listing by Category
Phoenix Film Office - PRODUCTION LISTINGS Camera Assistants Name/Company Phone-1Phone-2 Email/WebSite Service Description Ashhurst, Edward 602-481-9887 edwardashhurst@hotmail. com Chow, Betty 623-640-2977 Coleman Taylor, Peggy 480-497-2014 602-708-9169 [email protected] Location manager. Still photo production coordinator. Clapper/ loader/ 2nd A.C. Collins, Michael Stewart 602-569-9618 480-244-5340 [email protected] Stuntman: all expected abilities, precision driver. Assistant Camera: Arri, Xcell Panavision, Movie Cam, Steadicam. Local 600. Alkesh Vaja 214-315 X5787 [email protected] Camera Assistant, Production Assistant Alkesh Vaja Antonio Baca 520-990-3208 [email protected] Camera Assistant for both film and HD. Experience with most 35mm and S16mm film cameras, as well as many HD cameras. Can work as loader, 2nd AC, or 1st AC/ focus pulle. I have experience on both feature films and television, including reality and documentay televisoiin. Antonio Baca House of 216, LLC 602-321-0031 [email protected] Commercial photographic company, specializing in photographing people. Portraits: studio/on-location, fashion, Ad, PR, Live Music, film stills, life style. Please feel free to call or email with service inquiries. Jason Barnes www.houseof216.com Kyhn, Matthew 303-882-0394 [email protected] Xcell Munoz, Alex 602-299-3867 [email protected] www.filmphoenix.com Page 1 of 2 602-262-4850 office The Phoenix Film Office offers this listing service for free to the local film community. The Phoenix Film Office is not a job placement agency; it does not provide job referrals nor does it make 602-534-2295 fax individual recommendations. -
Film Crew Film Crew
FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses. -
Australian Cinematographers Society
australian cinematographer ISSUE #53 March 2012 RRP $10.00 Quarterly Journal of the Australian Cinematographers Society www.cinematographer.org.au Broadcast Lenses Special Offer Just purchase any of these lenses and get a FREE camera* Just purchase any Just purchase any off of these HA series these XA / ZA seriess lenses and get a... lenses and get a... XA20sx8.5BRM-K3 or HA14x4.5 or XA20sx8.5BERM-K3 or HA18x7.6 or ZA17x7.6 or HA23x7.6 ZA22x7.6 Inspired by the beauty and form of classic cameras from the past, the FinePix X100 Take your passion for photography to the combines all the latest technical digital next level with optical performance that innovations in a beautiful, traditional chassis FREE FUJIFILM FUJIFILM ignites your desire to explore X10's FREEFinepix X100 Camera which oozes class and prestige. Finepix X10 Camera potential,p intuitive controls and Awards and Reviews: ooperability that hone your senses as a UIF Product Design Award 2012 photographer,p and a design that invites youy to master its every possibility. UGood Design Award 2011 UPopular Photography "POP AWARD 2011" TheT Fujifilm X10 cannot fail to awaken for Best Gear of the Year yyour creativity and make every day a journeyjo of discovery! UEISA - European Advanced Compact Camera 2011-2012 *Terms and conditions: Based on the FUJINON Broadcast lenses as shown above. Every purchaser of XA20sx8.5BRM-K3 / XA20sx8.5BERM-K3 / ZA17x7.6 / ZA22x7.6 from a participating dealer will receive a FUJIFILM X10 camera. Every purchaser of HA14x4.5 / HA18x7.6 / HA23x7.6 from a participating dealer will receive a FUJIFILM X100 camera. -
Lexique Lexicon 9
Lexique Lexicon 9 cinéma / audiovisuel 9 cinema / audiovisual Lexique 9 Lexicon ENGLISH-FRENCH A close-up (CU) ................... gros plan (GP) acting ....................... jeu (d’un acteur) (extreme) close-up (ECU)...... très gros plan (TGP) action car ....................... voiture de jeu color chart, grayscale, lilly...... charte de couleurs actor/actress ................... acteur/actrice colorist ............................ étalonneur adjustable........................... réglable compugraphics.............. images de synthèse ADR ...................... post-synchronisation conforming .............. conformation du négatif (Automatic Dialog Replacement) (matching of the negatives) aerial shot................ prise de vue aérienne construction crew ......... équipe de construction anamorphic lens....... objectif anamorphic (scope) construction foreman ........... chef constructeur answer print ....................... copie zéro construction coordinator . chef constructeur aperture . diaphragme, ouverture du diaphragme continuity person - script supervisor ......... scripte art director .................... chef décorateur continuity shot........................ raccord aspect ratio......... rapport du format de l’image cost (to)............ évaluer le coût, faire un devis assistant camera operator... premier assistant opérateur costume designer ................ chef costumier assistant director...... premier assistant réalisateur costume shop ................ atelier de costume assistant location manager ............. régisseur