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A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community
Guide to Filming in Your Community s e p t e m b e r 2 0 1 0 Guide to Filming in Your Community Table of Contents Introduction .................................................................................. page 3 A brief background ........................................................................ page 3 The Michigan Film Incentives ....................................................... page 3 Michigan Film Office .................................................................... page 3 Role of the municipality ................................................................ page 3 Streamlining the process—your primary film contact .................... page 4 Role of the PFC ............................................................................ page 4 First contact .................................................................................. page 4 Supplementary opportunities ........................................................ page 4 Locations ....................................................................................... page 5 Location scouting .......................................................................... page 5 Location fees ................................................................................. page 5 Location photography ................................................................... page 5 Street closures ................................................................................ page 6 Permitting .................................................................................... -
John Barzelay [email protected] (407) 761-1899
John Barzelay [email protected] (407) 761-1899 Education University of Central Florida, Orlando, FL Bachelor of Arts, May 2008, Radio/Television. Minors in Film, Sociology. Recent Freelance Sound Mixer/Recordist, Camera Op, Steadicam (current) Work SOUND DEPARTMENT “Glendale Arts” - TV Spots – Sound Mixer (April 2012) Tegan Summer “Blue Lagoon” - Behind the scenes – Sound Mixer/Recordist (March 2012) Lifetime “Google Apps” - Commercial web-spots – Sound Mixer (September 2011) Google “Zombie Burst” iPhone Video Game –Sound Director (September 2011) “2012 Ford Fiesta” – Commercials – Sound Mixer (September 2011) Ford “Puss N Boots” – Live-action Commercial – Boom Op (September 2011) Dreamworks “Grabriel Iglesias” Commercials – Sound mixer (August 2011) Comedy Central “Prophets of Science Fiction” TV Show – Sound Mixer (July-August 2011) Discovery “Cee-Lo Green – Cry Baby” music video – Sound Mixer (July 2011) “Rango” Live-action commercial – Boom Op (June 2011) Nickelodeon. “Kids Choice Awards 2011” – Commercial Spots – Boom Op (May 2011) Nickelodeon “American Idol” TV Show – Sound Mixer/boom (March 2011) Fox “The Sorrow” Feature Film – Sound Mixer (March 2011) LapBand Commercial TV Spots – Sound mixer (Jan 2011) Tegan Summer “The Block” BET Pilot – Sound Mixer/Boom (Oct 2010) BET “Tony Hawk Pro Skater: Shred” Video game – Boom Op (April 2010) PCB. “Hatchet II” Feature film – Boom Operator (Jan-Feb 2010) Ariescope. CAMERA DEPARTMENT “YG – Get money and fuck” Music Video – Steadicam Op (April 2012) 55 Mill “My Indonesian Adventure” -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion. -
Dr. Katie Bird Curriculum Vitae, Sept 2019
Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no. -
Mohamd Maddy SOUND ENGINEER [email protected] +974 775 675 72 Doha, Qatar
Mohamd Maddy SOUND ENGINEER [email protected] +974 775 675 72 Doha, Qatar Summary: 8 years of valuable experience in the Broadcast Television & Cinema industries in Egyptian & Qatari Media. Always ready for a challenging project and I have a talent for finding ways to do things that others say can't be done. Am seeking for the position of audio operator/engineer in the production/ post production industry to boost my skills and gain knowledge in aspects of media production field. Specialties: Video Production, "Audio", Sound Recordist -Recording On Filming Locations, Outside Broadcast Engineering & Communications. Post Production, Sound Studio, Audio Operations, Editing with Pro Tools Software, Mixing, Mastering, Recording, Sound Design, Foley & Editing Dialog. Audio Experience: Sound Designer: House Engineer: ReferenceStudios - CAIRO, EGYPT, 2011- 2014 *Record & Edit dialog for: Dubbing, Commercials Voiceover, RADIO Programs, and Documentaries As: “Timon & Pumbaa, Doc Mcstufns “for - Masrya Media. *Add ambiances & SFXtracks for Cinema movies & series & short movies As: "Harrag W Marrag"- Wika Media Production- " 31/12 & GARSONEERA "- Soteer Production - "AHLA ELAYAM"- Media Life - "SER ALANY & SEDNA ELSAYD"- ADL GROUP - "VIRGIN MORNING"- ERROR MEDIA PRODUCTION - . *Record & Edit Foley sessions for Cinema movies & series & short movies As: "Harrag W Marrag"-Wika Media Production- "VIRGIN MORNING"-ERROR MEDIA PRODUCTION- “31/12" & "GARSONEERA"-Soteer Production Sound Designer: House Engineer: ART FRIENDS PRODUCTIONS - DOHA, QATAR, 2015- PRESENT *Record & Edit dialog for: TVC,S , Commercials Voiceover , RADIO Programs ,Short Movies , and Documentaries. *Recording on set and mixing and sound designing for many projects, As: “Diabetes Campaign, QDB Loan TVC, Shell Short Movie” *Checking Pro Tools session backups for missing files and playback errors. -
Usc Sca Ctpr 507 Production I -‐ Fall 2011
USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only). -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary -
OROVERDE by MOHAMMED SOUDANI with Fausto Sciarappa, Giorgia Würth, Carlos Leal, Leonardo Nigro, Ignazio Oliva, Diego Gaffuri, Simona Bernasconi, Gaia Parisi
OROVERDE by MOHAMMED SOUDANI with Fausto Sciarappa, Giorgia Würth, Carlos Leal, Leonardo Nigro, Ignazio Oliva, Diego Gaffuri, Simona Bernasconi, Gaia Parisi an Amka Films Productions in co-production with RSI Radiotelevisione svizzera www.oroverde-ilfilm.ch www.amka.ch Distributed in Switzerland by Praesens Film Zurich FILMS PRODUCTIONS SA Press: Tina Boillat, 091 950 01 08 079 423 78 44 [email protected] Online: Amel Soudani, 079 314 34 21 [email protected] PRESSBOOK SYNOPSIS Liberally inspired by a true story that took place in Mario is an unemployed engineer, a victim of the eco- the Tessin at the beginning of the 2000’s nomic crisis. Discouraged by the employment offerings, that do not correspond at all with his experience and capabilities, and demoralized by the innumerous financial obliga- tions accumulated in precedence, he decides to orga- nize the robbery of the century. The police had just stored in a military facility the largest quantity of cannabis ever seized in Switzerland, and it would be burned shortly. Mario decides to put together a gang to ‘substitute’ the cannabis with common hay without anybody being the wiser: in short, the physical evidence disappears, the crime also disappears... Mario searches among those he knows for the possible and trustworthy members of the gang: Ivan, Augusto, Leo, Monica, ‘The Professor’, each of them more impro- bable and desperate than the other, they accept Ma- rio’s plan, all of them convinced to have in their hands the “oro verde” (green gold) that will change definitively their lives. Instead ... DIRECTOR’S NOTES Two reasons mainly pushed me to make this film. -
Location Listing by Category
Phoenix Film Office - PRODUCTION LISTINGS Location Scouts Name/Company Phone-1Phone-2 Email/WebSite Service Description Denton Hanna Photography 480-251-5231 [email protected] APA member. Location management and scouting. 25 years in Arizona. Vast knowledge of statewide locations, permitting and production resources. dentonhanna.com Gregg Singer Zing Productions 602-274-6856 602-931-6856 [email protected] Prop master/set dresser. Location scout. AAA Arizona Access 602-254-5499 602-418-2615 [email protected] Location scout specializing in automotive and transportation related. 25+ years experience. Dennis Ranke Absolute Foto Images 602-274-4741 602-213-5916 [email protected] 10 years experience. Location Scouting, production stills, advertising, commercial, documentary, fashion, & landscape (35mm 120mm, 4x5), & digital video production. Robert Wulff Princely Nesadurai Action Adventures 602-996-9847 602-540-4349 Location scouting. Western props & wardrobe, including gattling gun, cannon, buggies, wagons and stage-coaches. Motorcycles. Pat Larkin Alan Benoit Photography 480-967-2241 602-526-1800 [email protected] APA member. Location management, scouting and photographic services om specializing in Arizona and the Southwest. Arizona from A to Zsm. Stock and production photography. Alan Benoit thereelwest.com Christine Benoit Apex Location Services LLC 602-334-1330 602-568-7290 [email protected] APA member. Production, celebrity slide out coaches. Equipped with all your Xoffice Xcell m production needs. Serving the four corner states and southwest for 16 years with set savvy drivers who know how to help your production run smooth. Wireless internet/fax/copy service available. Mike Loughran apexlocations.com Arizona Land Company/Remote 602-225-3737 [email protected] APA member. -
Production Staff Job Descriptions
Production Staff Job Descriptions The following pages contain information about basic duties and expectations for various volunteer and paid staff positions relevant to shows. • Producer • Production Coordinator • Assistant Director • Cast Board Committee Chair • Cast Management Committee Chair • Cast Party Committee Chair • Choreographer • Concessions Committee Chair • Costume Committee Chair • Costume Designer • Costume Organizer • Director • Hair and Make-up Committee Chair • House Manager • Microphone Manager • Musical Director • Photographer • Playbill Committee Chair • Props Committee Chair • Publicity Committee Chair • Set Building, Move-in and Strike Committee Chair • Set Designer • Set Painting Committee Chair • Stage Crew Manager Auxiliary Board • Group Sales Coordinator • Publicity Coordinator 1 Producer Reports to: Children’s Theatre of Elgin Board of Directors Job Description: The Producer is ultimately responsible for the entire production, including the financial performance. Producer should ensure that the production breaks even or generates a modest gain as dictated by the Board. Responsibilities: ◊ Provide a show budget for approval by the board; establish and adhere to the production budget ◊ Pay royalties for the show ◊ Hire (If appropriate): Director Orchestra Conductor, Orchestra Production Coordinator Vocal Director Script Writer (If required) Photographer Set Designer Musical Arranger Costume Designer Master Carpenter Choreographer Sound Engineer Stage Manager Lighting Designer Audition Accompanist Graphic Designer