DOCSLIB.ORG

Production Crew & Talent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Production Crew & Talent VISIT SANTA BARBARA & FILM COMMISSION Ryan Grau Director of Film & Special Events Office: (805) 966-9222 x 110 Fax: (805) 966-1728 [email protected] www.filmsantabarbara.com Countywide, Online Location Library with 35,000+ Photos PRODUCTION CREW & TALENT ACTORS / MODELS CAMERA OPERATORS & ASSISTANTS HELLO GORGEOUS MODELS Shannon Loar-Coté (Agent & Owner) GREEN, ERIC J. – Director, Producer, Camera Direct: (805) 689-9613 Operator of reality and documentary Email: [email protected] Direct: (310) 699-4416 Website: www.hellogorgeousmodels.com Email: [email protected] Location: Santa Barbara, CA Location: Santa Barbara, CA About: A full service, licensed model and talent Experience: 5+ years as a director/producer on agency in Santa Barbara, California. reality shows such as Couples Therapy with Dr Clients: Samsung, Oprah Winfrey Network, Pier 1 Jenn on VH-1, Family Therapy on VH-1 and Imports, Hennessy, Kimpton Hotels, Kay Jewelers, Famously Single on E!. 10+ years experience Nationwide Insurance, William Sonoma shooting mostly reality and documentary style. Have shot most seasons of Celebrity Rehab With STEVENS, CINDY – Casting Director Dr. Drew on VH-1, Mobbed on Fox and Food Actors Talent Registry/Kids Casting of Santa Paradise on Travel Channel Have shot with most Barbara County (Owner) ENG style cameras both SD and HD. Direct: (805) 350-0387 Owner of a Canon C100 camera package, LED Email: [email protected] light package and audio gear. About: A full service talent registry for actors with all levels of experience, and production. Connecting MATHIEU, PAUL - Producer / Camera Operator talent with production: film, theater, commercials, Owner of West Beach Films voice over, models, etc. Direct: (805) 448-9261 Email: [email protected] ANIMATION DIRECTION Website: www.westbeachfilms.com Experience: We specialize in HD production for ENGLISH, KEITH - Animation Director television, film and documentary projects. We offer Screaming Pixels a full range of services including script writing, pre- Direct: (805) 729-5911 production, field production and FCP post. Night of Email: [email protected] the Falcon, West Beach Films; The Brewmeisters, Website: www.screamingpixels.com Room 302 Prods; E! True Hollywood Story, E! Location: Santa Barbara, CA Entertainment. Experience: Highest quality 3D character animation, design, modeling, texturing, lighting and RICHMOND, EARL- Camera Operator / Producer special effects. Full compositing and effects Richmond Productions, Inc. capabilities. Direct: (805) 688-2718 Clients: British Invasion, TLC; Lobo Films; Email: [email protected] Toonami, Turner Studios. Website: www.richmondproductions.com Location: Solvang, CA 93463 Experience: Locations, pre-production, production Experience: HD and Betacam SP specialists, assistance on film, television, print and still. marine and marine mammal experts, gyro- stabilized harnessed systems, helicopter aerials, BROCK, MITCHELL - DGA 1st AD, Director topside and underwater marine, action Direct: (310) 467-3523 documentaries. 25 years of camera/production Email: [email protected] experience in a variety of environments and Location: Solvang, CA locations. National Geographic Television/Explorer, Experience: DGA first assistant director and BBC/Planet Ocean, PBS/Life & Times - Emmy director. Master at 2nd Units. Credits include: "War Nominated "Best Documentary".Rwa Films Boys", "The Lucky Ones", "Dead Presidents", "Back to the Future", "thirtysomething", "Walker, SUMNER, BRENT Texas Ranger", "NCIS", "Undeclared", Studio 8 "Spaceballs", commercials for Kentucky Fried Direct: (805) 708-4562 Chicken, Dodge, and Visa. Adept at scheduling and Email: [email protected] crew management. Skilled at Movie Magic Website: www.instudio8.com Scheduling and Budgeting as well as Final Draft. Location: Santa Barbara, CA 93101 Features, episodic, MOWs, and commercials on Experience: Varicam, HVX 200 HD, Beta camera film, digital, etc. Local experience as well as LA, operator, motion picture time-lapse Florida, Utah, New Mexico, Texas, Louisiana, and unit?Telepictures McGo Co, Mr. Time-Lapse; North many more. Union affiliation: DGA. Also do Hollywood Toyota, Red Rocket Prods; Getting the freelance boards and budgets. Honda car picture, Citizen McCaw. commercials. CATERING BURGOON, BROOKS – DP / DIT / 1st AC Direct: (949) 370-3176 CUTTRELL, DIANA – Caterer Email: [email protected] Dining With Di Gourmet Catering Website: www.sogoodpictures.com Direct: (805) 689-3111 Location: Santa Barbara, CA Email: [email protected] Experience: Editor at Kelly Slater Company, TVA at Website: www.diningwithdi.com Rogers Communications, 1st AC at New Wave Location: Santa Barbara Entertainment, 1st AC Subway “Off the Menu” Clients: Ralph Lauren, Lands End, Amex DALLETT, RICHARD - DP Direct: (805) 895-9100 DIRECTORS & AST DIRECTORS Email: [email protected] Website: www.dallett.com ABBOTT, LEE – Producer / Director / DP Experience: Panasonic HD Varicam and support Owner of Endorphin Films equipment. Worldwide shooting experience - drama Direct: (213) 400-1566 and documentary. Email: [email protected] Clients: Everyday Italian, Teale Edwards; Everyday Website: www.endorphinfilms.com Food, Martha Stewart Living Omnimedia; Djihad Location: Santa Barbara, CA, 93105 (TV movie), Noe Prods, France. Experience: Multi-camera scenarios, extreme sports, stunts, special effects, water productions, FAUNTLEROY, THOMAS – DGA First Asst. plus extensive post production work including Web Director design and Branding. Direct: (805) 570-8320 Clients: FOX, Lifetime, E!, CMT, ESPN, G4TV, Fine Email: [email protected] Living, Fox Sports, Discovery Channel, National Location: Santa Barbara, CA Lampoon, Canon USA, AXS-TV, Netflix, Luxury Experience: DGA 1st Assistant Director. On DGA Life Media Entertainment, Commercial, and Multi Camera st Qualification Lists. BROWNE, DANIEL – 1 AD, PA Direct: (805) 403-3282 JAMES, DYLAN – DP Email: [email protected] Direct: (209) 418-4051 Website: www.serenapaddlesports.com Email: [email protected] Location: Carpinteria, CA Location: Santa Barbara, CA Experience: All camera formats, DSLR, 4K, Clients: CNN, CNBC, ABC World News, Ruptly.tv, Underwater, Editing, Aftereffects, Adobe CS. KMVT TV, Sansum Clinic, SurfMedia Communications, The Fund for Santa Barbara, JONES, KEVIN - DP Visiting Nurse & Hospice Care Santa Barbara, ALAMO FILMS Santa Barbara Neighborhood Clinics. Direct: (805) 965-1753 Email: [email protected] RICHMOND, EARL - DP / Producer / Cam Op Website: www.alamofilms.com Richmond Productions, Inc. Experience: RED CAM, 35mm, HD, HDV, and 4k 3- Direct: (805) 688-2718 D experienced, DP of Multiple Feature Films Owner Email: [email protected] Complete RED ONE Camera Package with Easy Website: www.richmondproductions.com Rig style Body Cam Extensive Lighting and Grip Location: Solvang, CA 93463 Equipment Clients: ONSTAR, CHANTUESE Experience: 24 years’ experience in documentary PRODUCTIONS, CDC ATLANTA, etc. work w/background from Pre-production though Post. Specialty marine, marine mammal, LAWSON, JOSH – 1st AD, Editor, Producer, Grip environmental programs Extensive HD & Betacam Direct: (928) 899-9675 SP studio & outdoor environments. Nat Geographic Email: [email protected] Crittercam, Nat Geographic TV; Ten Year Experience: Multi-camera format, lighting inside Celebration, People Helping People; Jonathan and out, grip, production coordination, Adobe Winters on the Loose, PBS. editing suite, green screen lighting and production. RUPERT, JOHN – DP & Photographer MILES, LIZ – DGA 1st Assistant Director Cell: (805) 680-9396 Direct: (310) 993-0022 Email: [email protected] Email: [email protected] Location: Santa Barbara, CA Website: www.liztmiles.com Credits: Since 1983. One Orphan (medical Doc - Location: Carpinteria, CA UCLA), One Motion Pictures; Enramada, Experience: 20+ yrs as a Los Angeles based DGA Rancherors Visitadores; Immaculate Heart Story 1st AD for Commercials, TV, Features, Shorts, New Media, etc. Domestic and International projects. TAYLOR, STAN - DP / Director Taylor Lyons Communications, Inc. PIOZET, TOM – DP (Underwater) Direct: (805) 701-6501 Home Planet Productions E-Mail: [email protected] Direct: (805) 965-9848 Website: www.taylorlyons.com Cell: 818-422-4144 Location: Santa Barbara, CA 93150 Email: [email protected] Experience: Internet, corporate, live streaming, Website: www.homeplanetproductions.com shorts, this is a full production studio with 30+ years Experience: Owner/Operator Sony F900 HDCAMS of experience Panasonic VARICAMS, HDX-900, 3700/PZ 3700, Clients: IBM, Porsche, Audi, Volkswagen, Honda, XDCAM 800, EX-i/EX-3 & D600 BetaSP.24P. and Mattel. Digital feature films, documentaries, news magazine, and EPK's. GAFFER Clients: National Geographic; BBC; Warner Bros., NBC, ABC, CBS, New Magazines, DateLine, 20/20, 60 Minutes, Nightline, Today, GMA, Oprah, E!, ET. HINTON Jr., RAY- Camera Operator / Owner Santa Barbara Grip and Lighting REINISH, JENNIE – Creative Officer Direct: (805) 385-8852 Tidepool Pictures/Riviera Productions Email: [email protected] Direct: (805) 965-2929 Website: www.santabarbaragripandlighting.com Email: [email protected] Location: Solvang, CA 93463 Website: www.tidepoolpictures.com Experience: 15 years ABC network lighting director, Experience: Video production, post-production, camera operator, audio mixer. Complete production production management/coordination, producer's packages: camera,
Load more

Recommended publications
  • Videography and Photography: Critical Thinking, Ethics and Knowledge-Based Practice in Visual Media
    Videography and photography: Critical thinking, ethics and knowledge-based practice in visual media Storytelling through videography and photography can form the basis for journalism that is both consequential and high impact. Powerful images can shape public opinion and indeed change the world, but with such power comes substantial ethical and intellectual responsibility. The training that prepares journalists to do this work, therefore, must meaningfully integrate deep analytical materials and demand rigorous critical thinking. Students must not only have proficient technical skills but also must know their subject matter deeply and understand the deeper implications of their journalistic choices in selecting materials. This course gives aspiring visual journalists the opportunity to hone critical-thinking skills and devise strategies for addressing multimedia reporting’s ethical concerns on a professional level. It instills values grounded in the best practices of traditional journalism while embracing the latest technologies, all through knowledge-based, hands-on instruction. Learning objectives This course introduces the principles of critical thinking and ethical awareness in nonfiction visual storytelling. Students who take this course will: Learn the duties and rights of journalists in the digital age. Better understand the impact of images and sound on meaning. Develop a professional process for handling multimedia reporting’s ethical challenges. Generate and translate ideas into ethically sound multimedia projects. Understand how to combine responsible journalism with entertaining and artistic storytelling. Think and act as multimedia journalists, producing accurate and balanced stories — even ones that take a point of view. Course design This syllabus is built around the concept of groups of students going through the complete process of producing a multimedia story and writing journal entries about ethical concerns that surface during its development and execution.
    [Show full text]
  • By Patricia Holloway and Carol Mahan
    by Patricia Holloway and Carol Mahan ids and nature seem like a natural survey by the Kaiser Family Foundation, combination, but what was natu- today’s 8- to 18-year-olds spend an average ral a generation ago is different of seven hours and 38 minutes per day on today. Children are spending entertainment media such as TV, video Kless time outdoors but continue to need games, computers, and cell phones, nature for their physical, emotional, leaving little time for nature explora- and mental development. This fact has tion or much else (2010). led author Richard Louv to suggest According to Louv, children need that today’s children are suffering nature for learning and creativity from “nature-deficit disorder” (2008). (2008). A hands-on experiential Nature-deficit disorder is not a med- approach, such as nature explo- ical term, but rather a term coined ration, can have other benefits by Louv to describe the current for students, such as increased disconnect from nature. motivation and enjoyment of While there may be many learning and improved reasons today’s children are skills, including communi- not connected with nature, cation skills (Haury and a major contributor is time Rillero 1994). spent on indoor activities. According to a national Summer 2012 23 ENHANCE NATURE EXPLORATION WITH TECHNOLOGY Digital storytelling Engaging with nature Our idea was to use technology as a tool to provide or Students need to have experiences in nature in order enhance students’ connection with nature. Students to develop their stories. To spark students’ creativ- are already engaged with technology; we wanted to ity, have them read or listen to stories about nature.
    [Show full text]
  • Filming from Home Best Practices
    Instructions for Filming From Home As we continue to adapt to the current public health situation, video can be a fantastic tool for staying connected and engaging with your community. These basic guidelines will help you film compelling, high-quality videos of yourself from your home using tools you already have on hand. For more information, contact Jake Rosati in the Communications, Marketing, and Public Affairs department at [email protected]. ​ SETTING YOUR SCENE Whether you’re using a video camera, smartphone, or laptop, there are a few simple steps you can take to make sure you’re capturing clean, clear footage. You can also use these scene-setting tips to help light and frame Zoom video calls. Background ● Make sure your subject—you, in this case—is the main focus of the frame. Avoid backgrounds that are overly busy or include a lot of extraneous motion. Whenever possible, ensure that other people’s faces are not in view. ● If you’re filming in front of a flat wall, sit far enough away to avoid casting shadows behind you. ● If you have space, you can add depth to your shot by sitting or standing in front of corners. This will draw the viewer’s eye to your subject. DO add depth to your shot by filming in front of a DON’T sit too close to a flat wall; it can cast ​ ​ corner. distracting shadows. Lighting ● The best at-home lighting is daylight. Try to position yourself facing a window (or set up a light if daylight isn’t an option) with your face pointing about three-quarters of the way toward the light.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Doron Kipper
    Doron Kipper [email protected] (818) 396-7484 Filmography (More Available Upon Request) Feature Films Ender’s Game 2012 - 2013 FX/Integration Coordinator Profile 2012 On-Set VFX Data Wrangler • Passionate about Filmmaking. Short Films • High standard for quality. • Driven to excel in any job, no Sinners & Saints 2011/RED Epic Key Grip matter how small. Misdirection 2010/35mm Director/Writer/Producer • Follows directions quickly with Four Winds 2010/35mm Script Supervisor attention to detail and efficiency. Onigiri 2010/Super16 Script Supervisor • Wide range of skill sets and Abduction 2009/16mm Cinematographer knowledge in areas of film, Evacua 2008/RED Script Supervisor theatre production, & technology. Brain Found 2008/16mm Cinematographer • Eager & quick to learn new skills. Shoes 2008/16mm Cinematographer/Editor • Confronts obstacles with creative Sweet Cheeks 2007/DV 1st Assistant Director solutions under extreme stress. The Warning 2004/DV Director/Writer/Editor • Works well in a collaborative Media environment. Breaking Ice (Breaking Bad Webisode - Final Season) 2012 DP (HD) • Quality work is more important Disney’s D23 Armchair Archivist - Season 2 2011 Camera/Editor than sleep. Over 40 Additional Theatrical Productions (HD/SD) 2003 -11 Videography/DVD No Good Television Promotional Spot 2010 SpecialFX Specialist Tippi Hedren/Vivica A. Fox Awards Reel (La Femme) 2008 Editor Software Proficiency Antsy McClain and The Troubadours Concert HD 2008 Asst. DP/Camera • Shotgun Big River (MET2) - Promotional Trailer 2008 Editor • Filemaker
    [Show full text]
  • EPC Exhibit 129-30.1 770 *‡Photography, Computer Art
    770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 EPC Exhibit 129-30.1 770 *‡Photography, computer art, cinematography, videography Standard subdivisions are added for photography, computer art, cinematography, videography together; for photography alone Class here conventional photography (photography using film), digital photography Class technological photography in 621.367 See also 760 for hybrid photography 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 SUMMARY [770.1–.9 Standard subdivisions [771 Techniques, procedures, apparatus, equipment, materials [772 Metallic salt processes [773 Pigment processes of printing [774 Holography [776 Computer art (Digital art) [777 Cinematography and videography [778 Specific fields and special kinds of photography [779 Photographic images 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.1 *‡Philosophy and theory 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.11 *‡Inherent features Do not use for systems; class in 770.1 Including color, composition, decorative values, form, light, movement, perspective, space, style, symmetry, vision 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.2 *‡Miscellany 770 Photography,[computer[art,770[ cinemDeweyatography,iDecimaliClassification[videography 770 [.23 *‡Photography as a profession, occupation, hobby 770 Photography,[computer[art,770[
    [Show full text]
  • Videography Terminology Continuity
    Videography Terminology Continuity This is an important concept to keep in mind during recording of video/audio and later in post-production. Continuity means that if something is in one position or state-of-being in one shot, it needs to be the same way in the next shot unless it has purposely been changed for storytelling purposes. Some examples of lack of continuity are changes in a subject’s clothing, hair style, body position, or position of objects on the set between two shots that are supposed to be occurring within the same time frame. Another example is when in one shot a subject is traveling in one direction, but in the next shot the movement is in the opposite direction. Continuity changes can also occur with audio if scenes are shot in different locations or at different times but are supposed to be occurring in the same location. Framing Your Shot Rule of thirds: Divide the image in the viewfinder into horizontal and vertical thirds like placing a tic-tac-toe grid over it. Place a key part of the image on one of the intersecting points. This keeps the picture interesting and creates a pleasingly balanced image. Head room: The space between the top of the head and the upper edge of the picture or television screen. Breathing room: The space in front of a person’s face when recorded in profile. Classroom Video Production: Videography Terminology © KET 2015 1 Lead room: The space in front of a moving object or person. Types of Shots Wide shot (WS): A shot taken from a distance to show a landscape, building, or large crowd, such as the view of New York City from the Ellis Island.
    [Show full text]
  • Photography Project Area Guide Beginner Level
    W 977 Photography Project Area Guide Beginner Level Authored by: James Swart, M.S., Graduate Student, Department of Agricultural Leadership, Education and Communications Summer Treece, Undergraduate Student, Department of Agricultural Leadership, Education and Communications Tonya Bain, University of Tennessee, Extension Agent III Reviewed for pedagogy: Jennifer K. Richards, Ph.D., Department of Agricultural Leadership, Education and Communications Molly A. West, Ph.D., Department of Agricultural Leadership, Education and Communications Activity 1 Technical Skills Development Project Outcomes Addressed • Define the term “point-and-shoot” camera. • Label the parts of a point-and-shoot camera. Before you can learn how to use a camera to take eye- capturing shots, it’s important to know the different types of cameras that are available. In this activity, you will be learning about the “point-and-shoot” camera. In the space below, write two sentences or draw a picture of what you think a “point-and-shoot” camera is. It is okay if you don’t know what this term means, you will learn more about it below! So, what is a point-and-shoot camera? A point-and-shoot camera, also known as a compact camera, is a camera that serves a single purpose—to take photos. Most use a single, built in lens and use automatic systems for focusing and exposure. Point-and-shoot cameras are popular among people who do not call themselves “photographers.” They are easy to use and provide good quality pictures. There are five basic parts of a point-and-shoot camera. Read about each piece. Then, label the diagram on the next page with the correct term.
    [Show full text]
  • Cinematography/Videopgraphy
    FILM/VIDEO: CINEMATOGRAPHY/ VIDEOGRAPHY, A.A.S. COURSES THAT FULFILL GENERAL EDUCATION REQUIREMENTS TOTAL CONTENT AREA COURSE NUMBER AND COURSE TITLE CREDITS ENG 121: ENGLISH COMPOSITION I (REQUIRED) WRITTEN COMMUNICATION 6 ENG 122: ENGLISH COMPOSITION II (REQUIRED) MATHEMATICS MAT 120: MATH FOR LIBERAL ARTS (OR HIGHER, excludes MAT 155, 156) 3 or 4 COMMUNICATION COM 115: PUBLIC SPEAKING 3 SOCIAL & BEHAVIORAL SCIENCES PSY 101: PSYCHOLOGY I 3 GENERAL EDUCATION CREDITS 15 or 16 CORE REQUIRED COURSES FOR ACTING/DIRECTING CONTENT AREA COURSE NUMBER AND COURSE TITLE CREDITS FILM & VIDEO MEDIA FVM 105: VIDEO PRODUCTION I (REQUIRED) 3 FILM & VIDEO MEDIA FVM 117: UNDERSTANDING ACTOR’S PROCESS (REQUIRED) 3 FILM & VIDEO MEDIA FVM 136: SHORT SCRIPT ANALYSIS (REQUIRED) 3 FILM & VIDEO MEDIA FVM 150: DEVELOPMENT OF FILM EXPRESSION (REQUIRED) 3 FILM & VIDEO MEDIA FVM 160: VIDEO POST PRODUCTION I (REQUIRED) 3 ADDITIONAL PROGRAM CREDITS 15 ADDITIONAL REQUIRED COURSES FOR ACTING/DIRECTING CONTENT AREA COURSE NUMBER AND COURSE TITLE CREDITS FILM & VIDEO MEDIA FVM 153: INTRO TO FILM PRODUCTION (REQUIRED) 3 FILM & VIDEO MEDIA FVM 185: DOCUMENTRY FILM (REQUIRED) 3 FILM & VIDEO MEDIA FVM 200: VIDEO PRODUCTION II 3 FILM & VIDEO MEDIA FVM 202: FILM/VIDEO BUSINESS 3 FILM & VIDEO MEDIA FVM 204: ART DIRECTION 3 FILM & VIDEO MEDIA FVM 205: CAMERA TECHNIQUES 3 FILM & VIDEO MEDIA FVM 206: FILM/VIDEO LIGHTING 3 FILM & VIDEO MEDIA FVM 212: CONTEMPORARY GLOBAL CINEMA 3 FILM & VIDEO MEDIA FVM 213: CINEMATOGRPHY 3 FILM & VIDEO MEDIA FVM 220: 16mm/HD PRODUCTION 3 FILM & VIDEO MEDIA FVM 221: COMMERCIAL MEDIA PRODUCTION 3 FILM & VIDEO MEDIA FVM 223: COLOR GRADING 3 FILM & VIDEO MEDIA FVM 251: FEATURE SCRIPT ANALYSIS (REQUIRED) 3 FILM & VIDEO MEDIA FVM 270: FILM/VIDEO PRODUCTION III (REQUIRED) 3 FILM & VIDEO MEDIA FVM 273: PROFESSIONAL DOCUMENTARY PRODUCTION (REQUIRED) 3 ADDITIONAL PROGRAM CREDITS 45 TOTAL CREDIT HOURS 75-76 For additional information contact your Pathways Advisor www.ccaurora.edu/meet-our-pathways-advisors CATALOG: 2019-2020 FILM/VIDEO: CINEMATOGRAPHY/ VIDEOGRAPHY, A.A.S.
    [Show full text]
  • Journalism & Electronic Media
    Journalism & Electronic Media Reporting Editorial/column writing Feature writing Investigative journalism Sports Newspaper Online journalism & Magazine Photo journalism Publishing Editing Proofreading Circulation Marketing/promotion Production Foreign correspondence Large circulation newspapers Local newspapers: • Dailies • Alternative weeklies Newspaper Wire services & Magazine Trade newspapers Online publishers Publishing Major publishers Employers Consumer magazines News magazines Specialized magazines Mechanical and industrial publications Work with a college newspaper, yearbook, or alumni publication. Take an active role, preferably leadership, in journalism organizations. Complete an internship with a publisher. Seek experience with on-campus or community Newspaper publications. Find a part-time or summer job with a newspaper, & Magazine magazine, or print shop. Publishing Obtain sales experience. Strategies Join a professional journalism organization. Demonstrate creative spirit, writing skills, verbal skills, and proofreading ability. Create a portfolio of writing samples. Consider obtaining a minor in photography for photojournalistic specialty. Editing Sales Book Promotion Publishing Publicity Production Subsidiary rights Publishers: • Tradebooks • Children’s books • Paperbacks • Textbooks Book • Periodicals Publishing Book clubs Employers University presses Religious presses Technical, scientific, or medical presses Internet sites Attend a summer publishing institute to sharpen skills and build contacts. Become familiar with
    [Show full text]
  • IV Course Material On
    SRINIVASAN COLLEGE OF ARTS AND SCIENCE (Affiliated to Bharathidasan University, Trichy) PERAMBALUR-621212 DEPARTMENT OF JOURNALISM AND MASS COMMUNICATION Course: JMC Year:2 Semester: IV Course material on : BASICS OF VIDEOGRAPHY Course code : ALLIED COURSE IV(AC) Sub Code (BDU given): 16AACJM4 Prepared by : N.BHARATHI M.A., M.Phil, B.Ed., Month & Year: March 2020 Allied Course IV - Basics of Videography UNIT I Basics and Importance of Videography. History of Videography, Purpose and advantages of Videography. Limitations and applications of Videos UNIT II Lens and image formation – focal length, F-number, T-number, types of lens, image formation, magnification, filters, ND filter, depth of focus. Video tapes & formats UNIT III Types of shots, camera angles. Camera movements-panning, tilting, tracking, craning, and zooming UNIT IV Basics of lighting. Key fill, back light and background light, use of reflectors, Lighting and exposure. Lighting technology, direct light, diffused light, illumination, units of light UNIT V High Definition and 24P cinematography. Picture quality. Display quality. Frame rates and scanning. Professional Formats. The future of Videography Basics of Videography Unit-1 Basics and Importance of videography Videography refers to the process of capturing moving images on electronic media (e.g., videotape, direct to disk recording, or solid state storage) and even streaming media. The term includes methods of video production and post- production. It is considered the video equivalent of cinematography (moving images recorded on film stock). The advent of digital video recording in the late 20th century blurred the distinction between videography and cinematography, as in both methods the intermittent mechanism became the same.
    [Show full text]
  • Computational Photography & Cinematography
    Computational photography & cinematography (for a lecture specifically devoted to the Stanford Frankencamera, see http://graphics.stanford.edu/talks/camera20-public-may10-150dpi.pdf) Marc Levoy Computer Science Department Stanford University The future of digital photography ! the megapixel wars are over (and it’s about time) ! computational photography is the next battleground in the camera industry (it’s already starting) 2 ! Marc Levoy Premise: available computing power in cameras is rising faster than megapixels 12 70 9 52.5 6 35 megapixels 3 17.5 billions of pixels / second of pixels billions 0 0 2005 2006 2007 2008 2009 2010 Avg megapixels in new cameras, CAGR = 1.2 NVIDIA GTX texture fill rate, CAGR = 1.8 (CAGR for Moore’s law = 1.5) ! this “headroom” permits more computation per pixel, 3 or more frames per second, or less custom hardware ! Marc Levoy The future of digital photography ! the megapixel wars are over (long overdue) ! computational photography is the next battleground in the camera industry (it’s already starting) ! how will these features appear to consumers? • standard and invisible • standard and visible (and disable-able) • aftermarket plugins and apps for your camera 4 ! Marc Levoy The future of digital photography ! the megapixel wars are over (long overdue) ! computational photography is the next battleground in the camera industry (it’s already starting) ! how will these features appear to consumers? • standard and invisible • standard and visible (and disable-able) • aftermarket plugins and apps for your camera
    [Show full text]