Hons.) (Professional Film Making
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Tom Fleischman CAS
Career Achievement Award Recipient Tom Fleischman CAS CAS Award Nominees Production Equipment FOMO How the CAS Started Remembering Jim Alexander WINTER 2020 CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURE - ADR/DIALOGUE PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD “EXQUISITELY MADE, EVERY DETAIL CAREFULLY CONSIDERED. IT FEELS UTTERLY TRANSPORTING.” NETFLIXGUILDS.COM CAS QUARTERLY, COVER 2 NETFLIX: THE IRISHMAN PUB DATE 12/30/19 BLEED: 8.625” X 11.125” TRIM: 8.375” X 10.875” CINEMA AUDIO SOCIETY AWARDS NOMINEE OUTSTANDING ACHIEVEMENT IN SOUND MIXING MPSE GOLDEN REEL AWARDS NOMINEE FEATURES FEATURE - ADR/DIALOGUE Production Sound Equipment Purchases . 20 PHILIP STOCKTON, MPSE, EUGENE GEARTY, MARISSA LITTLEFIELD Ever have a “Fear of Missing Out”? 147th AES Convention . 26 Career Achievement Recipient . 34 Re-recording mixer Tom Fleischman CAS CAS Filmmaker Award . 44 34 Director, producer, and writer James Mangold CAS Award Nominations . 46 Outstanding Product Nominees . 50 Student Recognition Award Finalists . 52 The Start of the CAS . 54 Bob Hoyt had a vision A Case Study in Multilanguage Production Sound . 60 Possession 54 The “Sound” of Genre Storytelling . 64 Mixing approaches infl uenced by genre Remembering a Legend . 68 Production sound mixer Jim Alexander “EXQUISITELY MADE, DEPARTMENTS EVERY DETAIL The President’s Letter . 4 From the Editor . 6 CAREFULLY CONSIDERED. 60 Collaborators . 9 Meet the people behind the words IT FEELS UTTERLY Technically Speaking -
CRB 2002 Report [Pdf]
Motion Picture Production in California By Martha Jones, Ph.D. Requested by Assembly Member Dario Frommer, Chair of the Select Committee on the Future of California’s Film Industry MARCH 2002 CRB 02-001 Motion Picture Production in California By Martha Jones, Ph.D. ISBN 1-58703-148-5 Acknowledgements Many people provided assistance in preparing a paper such as this, but several deserve special mention. Trina Dangberg helped immensely in the production of this report. Judy Hust and Roz Dick provided excellent editing support. Library assistance from the Information Services Unit of the California Research Bureau is gratefully acknowledged, especially John Cornelison, Steven DeBry, and Daniel Mitchell. Note from the Author An earlier version of this document was first presented at a roundtable discussion, Film and Television Production: California’s Role in the 21st Century, held in Burbank, California on February 1, 2002, and hosted by Assembly Member Dario Frommer. Roundtable participants included the Entertainment Industry Development Corporation (EIDC), The Creative Coalition (TCC) and the Screen Actors Guild (SAG). Assembly Member Frommer is chair of the Select Committee on the Future of California’s Film Industry. This is a revised version of the report. Internet Access This paper is also available through the Internet at the California State Library’s home page (www.library.ca.gov) under CRB Reports. Contents EXECUTIVE SUMMARY .............................................................................................. 1 I. OVERVIEW OF THE CALIFORNIA MOTION PICTURE INDUSTRY............ 5 SIZE AND GROWTH OF THE CALIFORNIA MOTION PICTURE INDUSTRY ............................ 5 The Motion Picture Industry Measured by the Value of Output During the 1990s.... 5 The Motion Picture Industry Measured by Employment ........................................... -
King's Research Portal
King’s Research Portal DOI: 10.1080/20551940.2019.1649230 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Wiebe, H. (2021). Morale as Sonic Force: Listen to Britain and Total War. Sound Studies: An Interdisciplinary Journal, 7(1), 24-41. https://doi.org/10.1080/20551940.2019.1649230 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15 -
Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners. -
Course Syllabus-Cc367
COURSE SYLLABUS for CTVA 230 Fundamentals of Audio COURSE: CTVA 230 Fundamentals of Audio Production Spring 2018 INSTRUCTOR: Dr. Fred Ginsburg, C.A.S. Ph.D. (818) 231-1038 cell [email protected] (818) 892-9236 fax www.FilmTVsound.com MEETS: Tuesday 11am to 1:45pm MZ 295 computer lab Thursday 11am to 1:45pm MZ 160a ADR/Foley studio TEXTS: 1. On-line multimedia coursebook: Craft of Production Sound, (www.FilmTVsound.com) published by EQE Media & Consulting Group. Includes numerous articles, tips, tricks, equipment reviews, tutorials, news, forum, calendar of events, and way more. ($25) DO NOT REGISTER ONLINE UNTIL NOTIFIED TO DO SO. Website undergoing reconstruction that may affect 2018 user registrations. 2. Producing Great Sound for Film & Video, 4th Edition, by Jay Rose © Focal Press/Taylor & Francis Group, ISBN-978-0-415-72207-0. Available from Matador Bookstore 3. Pro Tools 101 Official Courseware Version 11.0, © Avid Technology, Inc. 2013, Published by Course Technology (CENGAGE Learning), ISBN-13: 978-1-285-77484-8 (Current Amazon.com Paperback Price: $30.23) Note: Entire book is available as a free eBook online via the Oviatt Note: Assigned book chapters will be available online via class links. Class links to additional materials for download In addition to the Readings list on our website, there is a special link for the class for downloading additional course materials including handouts and Pro Tools materials. https://drive.google.com/folderview?id=0Bw_IdweD6gXJfkJRZE51dW9GNXg0SFZaZ1Q0M 19iT2doNEJvSHUxMHRUVjBGNU9INjRhN0k&usp=sharing SUPPLIES: You will need one USB portable media for storing your projects while using the computer lab, such as an external HD or 16gig flash drive. -
295 Fall 2021
CTPR 295 Cinematic Arts Laboratory 4 Units Fall 2021 Concurrent enrollment: CTPR 294 Directing in Television, Fiction, and Documentary Silver/Section#18482 Meeting times: Producing/Cinematography: Fridays, 9:00-11:50am Editing/ Sound: Fridays, 1:00-3:50pm Producing Laboratory (SCA 214 / SCA 356) Instructor: Stephen Gibler Office Hours: by appointment SA: Kayla Sun Cinematography Laboratory (SCE STG #1) Instructor: Savannah Bloch Office Hours: by appointment SA: Luke Harris Editing Laboratory (SCA B120 / SCA 356) Instructor: Avi Glick Office Hours: by appointment SA: Alessia Crucitelli Sound Laboratory (SCA 209) Instructor: Ryan Vaughan Office Hours: by appointment SA: Kelly Osmolski Important Phone Numbers: * NO CALLS AFTER 9:00pm * SCA Labs (213) 740-3981 Help Desk (213) 8212638 Front Desk (213) 740-3981 Tony Bushman (213) 740-2470 Assistant Post Production Manager [email protected] 1 Equipment (Camera) (213) 821-0951 Equipment (Lights) (213) 740-2898 Equipment (sound) (213) 7407-7700 Joe Wallenstein (213) 740-7126 Student Prod. Office - SPO (213) 740-2895 Prod. Faculty Office (213) 740-3317 Campus Cruiser (213) 7404911 THIS SYLLABUS DOES NOT TAKE INTO ACCOUNT RESTRICTIONS OR REQUIREMENTS THAT MAY BE IN PLACE DUE TO THE CHRONA VIRUS AT THE BEGINNING OF THE FALL SEMESTER 2021. CHANGES WILL BE MADE TO INCLUDE THESE AS REQUIRED WHEN THE SEMESTER STARTS Course Structure and Schedule: CTPR 295 consists of four laboratories which, in combination, introduce Cinematic Arts Film and Television Production students to major disciplines of contemporary cinematic practice. Students will learn the basic technology, computer programs, and organizational principles of the four course disciplines that are necessary for the making of a short film. -
Download Press
I WANT YOUR LOVE USA, 71 minutes, 2011, 16x9, HD IWantYourLoveTheMovie.com LOG LINE: Jesse struggles to take responsibility for himself after a decade of treading water in freewheeling San Francisco. On his final night in the City, friends and ex-lovers gather for a going away party that promises to heighten Jesseʼs already bittersweet feelings about leaving. TEASER: http://vimeo.com/30434349 PRESS: “Intimate, sexy and unflinchingly honest, “A filmmaker of refreshing honesty, Travis I Want Your Love is a bold film with rare Mathews is a new voice giving queer insight into the uncensored lives of a cinema a much needed injection of generation of gay men.” emotional intimacy.” -- Andrew Haigh -- John Cameron Mitchell director of “Weekend” director of “Short Bus” “Travis Mathews has a kind and “I Want Your Love is an intense, intimate empathetic eye and heʼs just the kind of film with a fantastic soundtrack and new voice we need to tell our stories.” visually stunning beauty that will haunt you -- Ira Sachs long after the final scene.” director of “Keep the Lights On” -- Scott Heim author of “Mysterious Skin” KEY PRODUCTION BIOS: TRAVIS MATHEWS | WRITER, DIRECTOR, EDITOR Travis Mathews is an award-winning filmmaker whose movies focus on gay men, emotional honesty and intimacy. His films have screened internationally, in festivals, on cable television and numerous blogs including Butt Magazine. He's been enthusiastically noted as an emerging filmmaker to watch by such diverse publications as MacLife, IndieWIRE and Fleshbot. Informed with a Masters in Counseling Psychology and a background in documentary, Travis takes a thoughtful and naturalistic approach to filmmaking while maintaining a sense of humor about it all. -
Aaton Cantar-X1&2
p.1 f i r m w a r e v 2 . 4 4 U Õ Ì À > Ê « À i V à i > Õ Ì Ã > Ì i Ê Ê Ê Ê Ê p . 2 3 U m i x Ê Ì Ê Ê Ì À > V Ç L Ê Ì Ê Ì À > V n Ê Ê Ê p.2 8 U ¿ Ì > « i À i v ¿ Ê Ê } i à n .51 ka .14 p r r, v1 Ì Ê Ì V Ê Õ L Ì Ã p . 3 2 ta mirro tar's Can U¿ Ü ` ¿ Ê ¿ > ¿ Ê > ` Ê ¿ Ì À ¿ « ` v À i « À Ì Ã Ê Ê Ê Ê Ê p . 3 8 U i ` Ì À Ê Ê v À i ` Þ À Ì > Ì i£ & 2 p.39 U Ã Ì i À i Ê Ì À } Ã Õ ` v i ` L Ê Ê Ê Ê Ê p . 4 4 U « > Þ L > V ] Ê > ` À] Ê À i Ý « > Þ E À i V Ê Ê Ê Ê Ê Ê Ê p . 4 8 U Ì i À > Ê Ê L > V Õ « Ì Ê Ê V > À ` p . 5 4 Aaton Cantar-X1&2 +33 4 7642 9550 www.aaton.com Cantar-X User Manual v2.44 (r15) 2013 March 28 p.1 CONTENTS p.2 Keep in Touch TEST Operand positions Manuals & software p.3 Mic Phantom power p.16 MainSelector 'East' p.26 Cantar User's List, Photo Gallery p.3 Limiters, Inversion p.16 Rectangular screen rows p.26 The PostChain p.3 Filters and attenuators p.16 Software versions p.3 Differential delays p.16 ROUTINGS Cantar-X1 to X2 p.3 Mic & Line linking p.17 Set T1 > > T6 À`à p.27 Stereo pairs & Surround p.17 Set T7UT8 À`à p.28 Description Tuning the balances p.17 AES sample rate converters p.28 Permanently accessible faders p.4 Mixer panpots and faders p.17 16-Track by Word-clock p.28 Bottom connections p.5 Mixer miXa miXb outputs p.17 Play&Rec In-Grids p.28 Swiveling front panel buttons p.6 M/S monitoring p.18 Create "ÕÌ>« banks p.29 In-Grids and Out-Maps p.7 Track disarming p.18 Digi1 to Digi8 outputs p.30 Pan-pots p.7 Headphone level p.18 Circular modulometers for T1–T6 -
Resume Guide
BU COM Career Services Resume A resume is a selective summary of your skills and qualifications for a position. Ultimately, you have one page to convince someone of your credentials. But resumes aren’t just summaries. A strategic resume is tailored to the employer and proves you match with the position and its requirements. List any colleges or universities you have earned or will earn degrees from. Only freshmen should include high school. Everyone else should include undergrad and grad schools. Generally, you should divide your experience into “relevant experience,” listing all school and professional experience that is relevant to the position, and “additional experience,” if you want to add experience that is not directly related to the position. You can also just write “experience” if you do not have a lot of relevant experience. All experience should be listed in reverse chronological order based on when the position ended. If you are still in the position, you must use present tense and it must be listed first in the section; additionally the end date should be listed as “present.” Internships, BUTV, Daily Free Press, AdLab, and PRLab are all great examples of experience to include on your resume. Include only the positions and experience that will prove your qualifications and strengthen your application. Write bullet points using strong action verbs in the active voice (see page 4 for a list of active verbs). Think of the context, the task involved, the action taken, and the result. Each bullet should include the impact of your work. An easy way to organize bullet-points is to think of the acronym CAR: context, action, result. -
Query Letter for Tv Spec Script
Query Letter For Tv Spec Script Sultrier Skipper urged outlandishly. Sidnee meows ruinously? Dickey never topped any flowing lathe uncleanly, is Sumner terpsichorean and laid-back enough? Pick one she steps onto a script should be honest is, do i use this is never call them you navigate the spec for in mind that numbers on Generally used to query letters is to questions about one line to understand formatting, or they said. An unknown writers for tv scripts are sure to warn them just as my personal contact can follow a letter! Learn how about to prodcos in radio silence is going to an agent and inspired by mozart and film you for. We should tv spec for a letter, letters can make the kind diminish the scene tells us to prove their day ban thereafter. Just for query letter of querying screenwriting seminar series. Many developing material that script noticed by and tv. We had as spec scripts for query letter for more? Now have employed physical, letters still have to an online. For tv scripts for an impression you letter, letters have been most. Watch that writers are all that read the same for over hand written for diabetes care we would it take different set while i refer to intrigue them rediscover the tv spec for query letter, we also a small town. My words are scattered across something like when a letter for one character, feel the skin of french, glancing at purchase copies of. It to the script will sell itself to get an essay for messages and continue with strong passion for spec for query letter tv script coverage report and raymond hakim screenplay should be. -
NYU Los Angeles Script Analysis: Industry Focus IMFTV-UT 1084 LA1
NYU Los Angeles Script Analysis: Industry Focus IMFTV-UT 1084 LA1 Instructor Information ● Jane Goldenring ● Email: ● Office Hours: (Please email for appointments) Course Information ● Script Analysis: Industry Focus ● IMFTV-UT 1084 LA1 ● Wednesdays 6-9 pm ● Room: Course Overview and Goals The goal of Script Analysis at NYU LA is two-fold: 1.) To understand how a screenplay works. This will be achieved by analyzing narrative structure and other important elements that contribute to the success of a film, such as character and plot development, sense of place, dialogue, use of a particular genre, tone and uniqueness. 2.) To evaluate completed scripts prior to their production and provide Coverage and Analysis of scripts as potential properties from the perspective of buyers and other interested parties (eg., producers, production companies, talent, agencies, etc.) Upon Completion of this Course, students will be able to: ● Understand and apply different act structures (Three Act to Five Act). ● Understand and apply a number of different narrative structural templates. ● Understand and apply act breaks, turning points and reversals. ● Understand and apply specific scene functions (e.g., exposition, emotional or physical turning point). ● Understand and apply plot and character dynamics: backstory, defining moments/weaknesses, goals and/or dreams. ● Understand the characteristics of all the major genres and hybrid genres. ● Understand the functions of dialogue. ● Learn to intelligently and constructively evaluate a feature length screenplay with an eye toward balanced criticism. Page 1 Additionally: ● Students will synopsize, criticize and complete coverage for at least 3 screenplays. ● Students will write a set of notes describing one possible direction for a re-write of a screenplay applying the ideas discussed in class.