CAMERA OPERATOR: TRANSITIONS Spring/Summer 2008 CAMERA OPERATOR
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FILM CASE STUDY Plot the Film Is Set on the Fictional Island of Isla Nublar, Located Off Central America's Pacific Coast Near Costa Rica
1993 FILM CASE STUDY Plot The film is set on the fictional island of Isla Nublar, located off Central America's Pacific Coast near Costa Rica. Three billionaire philanthropist John Hammond and a small team of genetic scientists have created a wildlife park of de-extinct dinosaurs. When industrial sabotage leads to a catastrophic shutdown of the park's power facilities and security precautions, a small group of visitors, and Hammond's grandchildren, struggle to survive and escape the perilous island. ❏ Directed by: Steven Spielberg ❏ Produced by: Kathleen Kennedy,Gerald R. Molen ❏ Screenplay by: Michael Crichton,David Koepp ❏ Based on: Jurassic Park by Michael Crichton ❏ Music: John Williams ❏ Cinematography: Dean Cundey ❏ Edited by: Michael Kahn ❏ Production company: Amblin Entertainment ❏ Distributed by: Universal Pictures ❏ Release date : June 9, 1993 (Uptown Theater) June 11, 1993 (United States) July 16, 1993 (United Kingdom) ❏ Budget: $63 million ❏ Box office: $1.029 billion Director and Writer Before Crichton's novel was published, four studios put in bids for its film rights. With the backing of Universal Studios, Spielberg acquired the rights for $1.5 million before its publication in 1990; Crichton was hired for an additional $500,000 to adapt the novel for the screen. Koepp wrote the final draft, which left out much of the novel's exposition and violence and made numerous changes to the characters. Filming took place in California and Hawaii between August and November 1992, and post-production rolled until May 1993, supervised by Spielberg in Poland as Steven Spielberg Michael Crichton he filmed Schindler's List. Trailer Posters Production Filming After 25 months of pre-production, filming began on August 24, 1992, on the Hawaiian island of Kauaʻi. -
Greydon Clark Drive-In Doub
Greydon Clark Drive-in Double Feature: Hi-Riders (1978)/The Bad Bunc... http://www.fulvuedrive-in.com/review/9960/Greydon+Clark+Drive-in+... Category: Home > Reviews > Action > Exploitation > Grindhouse > Drama > Comedy > Camp > Vietnam > Racism > Drag Racing > Monster > Greydon Clark Drive-in Double Feature: Hi-Riders (1978)/The Bad Bunch (1976/aka Tom/VCI DVD) + Uninvited (1988/Cheezy Flicks DVD) Greydon Clark Drive-in Double Feature: Hi-Riders (1978) /The Bad Bunch (1976/aka Tom/VCI Disc Makers > Housebroken (2009/Image DVD) + Uninvited (1988/Cheezy Blu-ray)/Ladybugs Forte Flicks DVD) (1992/Lionsgate Automated CD Blu-ray)/Jimmy Hollywood Picture: C/C/C- Sound: C Extras: and DVD (1994/Lionsgate Blu-ray) duplicator for > The Superhero Squad Show C/C- Films: C/C/D – Volume 1 (2009/Shout! home or office Factory DVD) use. > You Really Got Me – The Greydon Clark is one of those www.discmakers.com/forte Story Of The Kinks + U2 – Let successful 1970s directors who thrived Them Be (MVD DVDs) in independent exploitation genre > Eyeborgs (2010/Image filmmaking in the 1970s and made some LG's Blu Blu-ray + DVD) of its more interesting films, but by the Ray/DVD Burner > Return To Lonesome Dove 1980s, he had done everything he could Burn Blu Ray (1993/Western TV Mini-Series/RHI/Vivendi DVD and never found a way to recover. We Disks, DVDs, or Set) now look at three of his features on two CDs W/ LG's Line > Wheeltappers & Shunters recent DVD releases that show the kind Of Optical Drives! Social Club – Complete of work he was doing. -
Location Listing by Category
Phoenix Film Office - PRODUCTION LISTINGS Camera Operators Name/Company Phone-1Phone-2 Email/WebSite Service Description Elliott, Brendan 480-215-6471 [email protected] Worked on commercials, indie films, and international marketing videos as camera operator, director of photography, grip, and editor. Shoot on Panasonic HPX-500, worked on multiple grip trucks and edit with Final Cut Pro, also using Apple Motion to create motion graphics. Cook, Cary 602-494-2446 602-381-1017 [email protected] Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 [email protected] Network quality video production company with experienced ENG & EFP m camera crews specializing in TV news, sports, & corporate video. KU/HD/C- Band satellite trucks & interview studio available for uplink needs. Cheryl Goodyear www.crewwestinc.com Michael Barcless Kucharo, Michael J. 602-253-4888 602-284-8332 [email protected] Director/producer/cameraman. Renfrow, Lawrence 480-985-6900 602-618-2118 Camera operator, gaffer & key grip. Over 20 years experience in feature, TV, commercial and industrial productions. 4th Wall Productions, LLC 602-568-8652 anthony@4thwalltvandfilm. APA member. Feature film, television, video and digital photography. Digital com cinematography, DVD broadcast video production. Anthony Miles www.4thwalltvandfilm.com Arizona Freelance Productions, LLC 480-368-5773 602-919-0836 [email protected] APA member. Camera operator/Director of Photography, Location Sound Mixer. Field production for syndicated TV shows, network news and documentary television programs. Stevan Pope azfreelance.com Barcellos, Matt 602-770-4850 623-939-8737 [email protected] Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production. -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
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. -
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). -
Filmmaking 101: Handout: Recording Audio © Nils Osmar 2012, All Rights Reserved
Filmmaking 101: Handout: Recording audio © Nils Osmar 2012, All rights reserved. Instructor: Nils Osmar Email: [email protected] For a full list of classes, visit: www.classesandworkshops.com __________________________________________________________ Movies have two components: video and audio. Movies are primarily a visual medium, but the quality of the audio is extremely important in the perceived quality of the final product. Good audio can save a bad movie. Poor audio can ruin a good one. Sound conveys emotion. Video conveys information. (If you listen to a movie with the sound off, you won’t be emotionally involved in it.) (If you're scared of horror films, try watching them with the sound off; they won't scare you at all.) __________________________________________________________ Key points to remember: • The audio track in a movie is made up of several different components mixed together. The components include: - voices - room tone - sound effects and foley - music • Some audio is recorded in the field (on location) on the day of filming. Some is recorded later on in studio. Then it's treated and mixed in studio. • If your goal is to record high quality audio, all of these components need to be of high quality: - your microphone - your microphone holder - the cable connecting it to the recording device - the camcorder or other recording device the microphone is hooked up to. • The connections between the components have to be secure. Audio is only as strong as its weakest link. (A great microphone won't sound good if its connection to the camera has a problem.) The better your movie's soundtrack, the less your audience will be consciously aware of it. -
NAB's Guide to Careers in Television
NAB’s Guide to Careers in Television Second Edition by Liz Chuday TABLE OF CONTENTS Table of Contents…………………………………..……………………......... 1-3 Introduction………………………………………………………………... ......... 4 Acknowledgements…………………………………………………………....... 6 A Word About Station Ownership………………..…………… ..................…7 The General Administration Department…………………. ...................... 8-9 General Manager……………..……………….……………… ..................... 8 Station Manager……..…………………………………………….. .............. 8 Human Resources…………………………..………………........................ 8 Executive Assistant…………………………..…………………… ............... 9 Business Manager/Controller…………………………… ........................... 9 The Sales and Marketing Department………………………….............. 10-11 Director of Sales…………………..………………………….. ................... 10 General Sales Manager…………………………………………................ 10 National Sales Manager……...……………………..……......................... 10 Marketing Director or Director of Non-Traditional Revenue……….……………...................... 10 Local Sales Manager..……………………………………………. ............. 11 Account Executive..……………………….………………………............. .11 Sales Assistant..………………………….…………………………............ 11 The Traffic Department………………..…………………………................... 12 Operations Manager…………………………………………..................... 12 Traffic Manager…………………………………….………………. ............ 12 Traffic Supervisor………………………………….……………….............. 12 Traffic Assistant…………………………………………….………............. 12 Order Entry Coordinator/Log Editors………………………. .................... 12 The Research Department………………………………………. -
Glossary of Filmmaker Terms
Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors. -
L'effet Steadicam
NEWS FOR OPERATORS AND OWNERS ~ \ Pour En Finir Avec "L'effet Report from Steadicam" South Africa - - - -------- - -------------- ------ by Jean Marc Bringuier to the already abundant range of Chris faces many of the same devices aimed at gliding a camera in problems we all do, plus a few that The complete article originally space. are unique to his troubled land. appeared in Cahiers Du Cinema . The only va lid use offilm We've talked many times over the last In this excerpt , Jean Mar c has equipment, ho wever sophisticated or f ew years , including last spring when exci ting, is to help tell a story or instill [ was in South Africa. -Ed. given us a Gallic feast ofideas a visual atmosphere. It does requ ire _. _- . ~ ----- that are useful f or discussions with individuals to stru ggle with it. I'm not operators, novices, and producers. ju st hinting at the sweat dripping from Ch r is Haarhoff: I recently -Ed . the operator's face (nor at the produ c alam agated my Stead icam with a great tion manager's pallor. ..) for Cinem a rental house down here, the Movie Panaglide and Steadicam are will always be a team sport. It was Camera Company. They were unable tools a filmmaker may use to stabilize certainly not the dollies used by to resurect their own Steadicam, a some of his views of the world. They Hitchcock which created the well Mod el II, and so I joined forces with are expected to free the creators' known suspense, through some hidd en their ow n in house ope rator, Gi lbert minds of several old constraints of the secret of their technology, but indeed Reed , thus reinforcin g the we ll held traditional and subtle art of dealin g the inimitable style of this Aristoc rat Stead icarn notion that unity is with the logistics of moving a film of Vision. -
Sergio De Luca Steadicam and Camera Operator Steadicam Owner IATSE Local 600
Sergio De Luca Steadicam and Camera Operator Steadicam Owner IATSE Local 600 FILM ZOOLANDER 2 Steadicam Operator; B Camera Operator Paramount Pictures Director: Ben Stiller DP: Daniel Mindel INFERNO Steadicam Operator; A and B Camera Operator; Main Unit Imagine Entertainment and 2nd Unit Director: Ron Howard DP: Salatore Totino, Andrew Rowlands BEN-HUR Additional Camera Operator Metro-Goldwyn-Mayer Director: Timur Bekmambetov DP: Oliver Wood SOAKED IN BLEACH B Camera Operator Daredevil Films Director: Benjamin Statler DP: Ben Kutchins RIDE Steadicam Operator; B Camera Operator Sandbar Pictures Director: Helen Hunt DP: Jas Shelton TOO LATE Steadicam Operator; A Camera Operator Foe Killer Films Director: Dennis Hauck DP: Bill Fernandez A CERTAIN JUSTICE Steadicam Operator; B Camera Operator Hollywood Media Bridge Director: Giorgio Serafini, James Coyne DP: Marco Cappetta BLOOD OF REDEMPTION Steadicam Operator; B Camera Operator VMI Worldwide Director: Giorgio Serafini, Shawn Sourgose DP: Marco Cappetta INSTRUCTIONS NOT INCLUDED Steadicam Operator Alebrije Cine Director: Eugenio Derbez DP: Martín Boege, Andrés León Becker AUTHORS ANONYMOUS Steadicam Operator Bull Market Entertainment Director: Ellie Kanner DP: Tobias Datum AMBUSHED B Camera Operator Hollywood Media Bridge Director: Giorgio Serafini DP: Marco Cappetta THE MILTON AGENCY Sergio De Luca 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Steadicam and Camera Operator Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 600 [email protected] www.miltonagency.com Page 1 of -
William E. Badgley 1237 Edgemont St
William E. Badgley 1237 Edgemont St. #202 Los Angeles, CA 90029 917.428.0150 [email protected] http://www.imdb.com/name/nm4123372/ http://www.williamebadgley.com/ EDUCATION: Masters Courses in Psychology, Sociology & Evolution CUNY Graduate Center Manhattan, NY Brooklyn College Brooklyn, NY 2003 B.A. Psychology Western Washington University Bellingham, WA 2001 PROFESSIONAL EXPERIENCE: Director/Writer/Producer/Camera Operator, feature length documentary film, “Rebel Dread” (OctoBer 2019) Head Gear Films London, Hindsight Media London, Moviehouse Entertainment London Directing, camera operation, producing, outlining, scripting, editing, legal Director/Writer/Producer/Editor, sizzle, “The One in The Woods” (2018) Titmouse Animation Wrote creative, scripted & edited sizzle Director/Writer/Producer/Editor/Camera Operator, feature length documentary film, “Here to be Heard: The Story of The Slits” (OctoBer 2017) Head Gear Films London, Moviehouse Entertainment London Directing, camera operation, producing, outlining, scripting, editing, legal, managing interns and assistant editors Director/Producer/Editor/Camera Operator, Feature Length Documentary Film, “Get Amongst It” (2012) IHEARTCOMIX, Media Contender Los Angeles, CA Directing, camera operation, producing, outlining, scripting, editing, managing interns Director/Producer/Editor/Camera Operator, Feature Length Documentary Film, “Kill All Redneck Pricks: A Documentary Film aBout a Band Called KARP” (2011) Molasses Manifesto Brooklyn, NY Directing, camera operation, producing, outlining,