Script Breakdown and Film Scheduling Online Course for Independent Filmmakers
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Writers Professional Materials
Writers Professional Working Materials INTRODUCTION Writers professional working materials and the tools of the trade – they are considered the sales tools for a writer’s work. These will be the most utilised materials when trying to establish yourself as a scriptwriter as either writer-for-hire work or when pitching your own original idea. No Producer or Production Company (locally or internationally) will ever read a script, treatment, logline or synopsis – unless a pre-existing relationship is in place – unsolicited. This means writers first need to be invited to send through materials in the manner that best suits that Producer or Production Companies. This helps to protect copyright or a copyright claim for both parties. It is also important to note that in international territories only Agents are able to introduce writers to Producers and Production Companies. Below each header you will find links to helpful sites and further information. As a screenwriter your job is to write, research, write, learn, write, and adapt. Google is your friend and before you ask Facebook for the answer, ask Google! Or check out the NZWG website for information on knowing your rights, contracting, useful facts and upcoming events. Before going any further, the below link is a must read for newcomers and is aimed at people applying for early development funding. It’s put together by Screen Australia, and is a very basic ‘How To Guide’ for feature filmmakers on application materials included in their application process – logline, synopsis & treatment. https://www.screenaustralia.gov.au/getmedia/ae5708a4-05d9-4db0-b5fb-4f999fdfed57/What-is-a- synopsis.pdf Below are all the materials broken into parts, starting with how to format your works. -
Evening Filmmaking Workshop
FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor. -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
Bob Oei Thesis Final Final
ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15 -
Boost Application Development with Amazon Web Services, Part 1: How to Use the Amazon E-Commerce Service Skill Level: Intermediate
Boost application development with Amazon Web Services, Part 1: How to use the Amazon E-Commerce Service Skill Level: Intermediate Eric Giguerre ([email protected]) Software Developer Studio B 24 Jun 2005 This tutorial provides an overview of Amazon Web Services (AWS). AWS exposes raw product information and key parts of Amazon.com technology to third-party developers for use in their applications. After describing how AWS works in general, the tutorial focuses on the main AWS service, called the Amazon E-Commerce Service (ECS). As part of this tutorial, you will develop a small Web application that uses ECS to display book and music information. Section 1. Before you start About this tutorial This tutorial provides an overview of Amazon Web Services (AWS). AWS exposes raw product information and key parts of Amazon.com technology to third-party developers for use in their applications. After describing how AWS works in general, the tutorial focuses on the main AWS service, called the Amazon E-Commerce Service (ECS). As part of this tutorial, you will develop a small Web application that uses ECS to display book and music information. This tutorial is written primarily for Java(TM); developers who are looking to incorporate AWS into their applications or to build new applications around AWS, though much of the material isn't specific to the Java programming language. No How to use the Amazon E-Commerce Service © Copyright IBM Corporation 1994, 2008. All rights reserved. Page 1 of 37 developerWorks® ibm.com/developerWorks knowledge of Web services is required. Prerequisites As part of this tutorial, you need to register with Amazon.com to obtain an AWS subscription ID. -
Bachelor's Degree in Filmmaking
BACHELOR’S DEGREE IN FILMMAKING THREE-YEAR ACCELERATED PROGRAM Each Bachelor of Fine Arts student writes, shoots, directs, and his Bachelor of Fine Arts Degree Program in Filmmaking employs a total immersion edits 12 films in the most intensive T approach to the subject where students hands-on program in the world develop a powerful arsenal of skills in directing, and works on the crew of at least screenwriting, cinematography, editing, and 30 additional films. producing. Students work in all formats from 16mm and HD to 35mm and RED Digital, as they write, direct, shoot, and edit their own films. A strong grounding in the liberal arts and sciences serves to inform students work and give them a well-rounded undergraduate education. The New York Film Academy’s Bachelor of Fine Arts in Filmmaking is unlike any other, it is an accelerated intensive degree program that can be completed in three years including summers. AVAILABLE IN One benefit of this is that students may begin internships or professional work a year earlier than they would in a standard bachelor’s program, and LOCATIONS of course save a year of tuition and expenses. UNIVERSAL STUDIOS, hollywood It requires a rigorous schedule whereby students are in class or production for eleven months of TUITION $30,000 PER YEAR** the year with a four week break between each **Additional Equipment Fee: $4,000 per year. Students will of the three years. Vacations are limited to two also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of weeks during the winter holidays and one week the projects. -
Duties of a Cinematographer in Creating a Film
Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills. -
Directing the Narrative Shot Design
DIRECTING THE NARRATIVE and SHOT DESIGN The Art and Craft of Directing by Lubomir Kocka Series in Cinema and Culture © Lubomir Kocka 2018. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2018933406 ISBN: 978-1-62273-288-3 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. CONTENTS PREFACE v PART I: DIRECTORIAL CONCEPTS 1 CHAPTER 1: DIRECTOR 1 CHAPTER 2: VISUAL CONCEPT 9 CHAPTER 3: CONCEPT OF VISUAL UNITS 23 CHAPTER 4: MANIPULATING FILM TIME 37 CHAPTER 5: CONTROLLING SPACE 43 CHAPTER 6: BLOCKING STRATEGIES 59 CHAPTER 7: MULTIPLE-CHARACTER SCENE 79 CHAPTER 8: DEMYSTIFYING THE 180-DEGREE RULE – CROSSING THE LINE 91 CHAPTER 9: CONCEPT OF CHARACTER PERSPECTIVE 119 CHAPTER 10: CONCEPT OF STORYTELLER’S PERSPECTIVE 187 CHAPTER 11: EMOTIONAL MANIPULATION/ EMOTIONAL DESIGN 193 CHAPTER 12: PSYCHO-PHYSIOLOGICAL REGULARITIES IN LEFT-RIGHT/RIGHT-LEFT ORIENTATION 199 CHAPTER 13: DIRECTORIAL-DRAMATURGICAL ANALYSIS 229 CHAPTER 14: DIRECTOR’S BOOK 237 CHAPTER 15: PREVISUALIZATION 249 PART II: STUDIOS – DIRECTING EXERCISES 253 CHAPTER 16: I. -
Entertainment 87 ENTERTAINMENT
Enroll at uclaextension.edu or call (800) 825-9971 Entertainment 87 ENTERTAINMENT Sneak Preview See the most highly anticipated new films prior to public release, specially selected for our Sneak Preview audience. Our seasoned moderators lead engaging Q&As with actors, directors, writers, and producers, giving you an inside look at the making of each film. Sneak Preview starts January 29 and presents 10 new films. Page 87. Past films and guests have included 87 FILM & TV MUSIC Marriage Story with director Ford v Ferrari with director 88 Business & Management 95 Film Scoring Noah Baumbach James Mangold of Entertainment 96 Music Business If Beale Street Could Talk with director Dolemite Is My Name with screenwriters Barry Jenkins Scott Alexander and Larry Karaszewski 89 Entertainment Project 97 Music Production Management A Hidden Life with actor Valerie Pachner Diane with actor Mary Kay Place 90 Acting Above: Q&A with (left to right) moderator Pete Hammond and director Robert Kenner at Sneak Preview. 91 Cinematography For weekly updates, visit entertainment.uclaextension.edu/sneak-preview. 91 Directing 92 Film & TV Development FILM TV UL 700 Film & TV Free Networking Opportunities 93 Producing For more information call (310) 825-9064, email for Entertainment Studies [email protected], or visit Certificate Students 95 Post-Production entertainment.uclaextension.edu. Does your project need a director, cinematographer, screenwriter, actor, producer, composer, or other crew FILM TV 804.2 member? Would you like to meet other like-minded Sneak Preview: students who have the same business or career goals Contemporary Films and Filmmakers as you? This is the perfect opportunity to meet your 2.0 CEUs fellow certificate students and make important connec- For more information call (310) 825-9064. -
Syllabus Fall 2007
USC School of Cinematic Arts Production Planning CTPR 425 SYLLABUS Fall 2007 Instuctor: Robert Brown CTPR 425 Production Planning Syllabus How do you turn a script into a film? This course will attempt to answer that question by examining the process of production planning for film. By the end of the semester, each student should not only have a conceptual grasp of how to line, breakdown, schedule, and budget a screenplay, but also have the practical skill to actually do it. Our goal, however, is not to make you into professional production managers, but rather to introduce you to the basic principles of production planning. Although, there are differences in scale and detail, the processes involved are essentially the same whether one is making a major studio feature, a low-budget feature, a movie-of-the-week, an episodic television show, an educational film, an industrial film, or a student film. Using a script from a one-hour episodic television show, each class member will line a script, make a production board, a day-out-of-days, and develop a shooting schedule. The class will also examine actual film budgets for both a large studio release and a low budget independent, account by account, in order to reach an understanding of the various elements that go into the making of a film. Grading Criteria In an effort to make the grading process as fair and objective as possible, I will use the following method. Assignments (Total Possible Points - 100) The five projects will be due at various times during the term. -
The Underrepresentation of African Americans and the Role of Casting
Grand Valley State University ScholarWorks@GVSU Undergraduate Research School of Communications 1-17-2017 The ndeU rrepresentation of African Americans and the Role of Casting Directors Chantal Suhling Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/com_undergrad Part of the Film and Media Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Suhling, Chantal, "The ndeU rrepresentation of African Americans and the Role of Casting Directors" (2017). Undergraduate Research. 1. http://scholarworks.gvsu.edu/com_undergrad/1 This Open Access is brought to you for free and open access by the School of Communications at ScholarWorks@GVSU. It has been accepted for inclusion in Undergraduate Research by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Running head: AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 1 The Underrepresentation of African Americans in Hollywood and the Role of Casting Directors Chantal Suhling Grand Valley State University AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 2 Abstract Films are cultural products, which reflect the existing and often underlying ideologies in a culture. In the American culture the two dominant ideologies are white normativity and patriarchy, which reinforce historical ideas, beliefs, and stereotypes about minorities. These ideologies are reflected in media. With the Oscars right around the corner, the -
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