DOCSLIB.ORG

Glossary of Filmmaker Terms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. assistants. Director of Photography (D.P.) Below the Line In charge of the camera department and responsible The portion of a production budget allotted to crew for the overall look of the film from a cinematography and expenses that are not classified as major creative perspective. Sets composition for each shot, selects talent. camera, film stock, lenses, lighting and color scheme. Best Boy Dolly Grip Chief assistant to either the gaffer or key grip. Prepares and operates the camera dolly, or a wheeled Responsible for the daily running of the lighting or camera platform that moves on rails. grip department. Double Blocking A person who temporarily takes the lead actor's place The physical movements and actions of actors in a for a stunt or to stand in for the actor in a shot when given scene. they are not available or unwilling to be shot (such as Blue (or Green) Screen in a nude scene). Shots are done in a way to avoid A blue or green backdrop to which computer seeing the double's face. generated images will be added to complete the Editing background. The process of arranging and selecting the shots (or Boom parts of shots) that will be used in the final film and Overhead microphone, held on a long pole over the collating them into the order determined by the actors' heads. script. Call Sheet Electrician The schedule (generally issued daily) that gives each In charge of all wiring, lighting and power for the member of each department the times and places to shoot. report to set. Executive Producer Camera Operator Party not invoved in technical aspects of a production The crew member, reporting directly to the director but who has played a crucial creative or financial role of photography, who physically handles and operates in its development. the camera. Extras CGI The people who appear in nonspecific, nonspeaking Computer Generated Imagery; refers to the inclusion roles (part of a crowd or background) for the purpose of computerized graphics in otherwise live-action of lending a more realistic atmosphere to a shot. films to enhance special effects. Flat Cinematography A section of a studio's set constructed of wood that The art of selecting devices, angles, recording media, simulates a wall. One side is decorated; the other is lenses, framing and arrangement of lighting to structural only. capture moving images (see DP). Foley/Foley Artist The process of adding noises or sound effects to a film in post-production in synchronization with the action on the screen. Lunch & Learn Series AICP MN 2015 Gaffer Production Designer Head of the electrical department, responsible for Works with the director to achieve the overall look of designing and implementing the lighting scheme for a the film from an artistic design perspective. production. Supervises set construction, scenery, costumes and Greenlit or Greenlight any other item that will appear in front of the camera. A commitment from a financing entity that allows a Production Manager/Unit Production Manager project to move from development to preproduction. In charge of the production office, this person makes Grip business deals with local vendors and hotels, hires Works with both the electrical and camera and fires crew, approves schedules and call sheets departments. Trained lighting and rigging technicians and keeps track of the budget. who put in lighting set-ups, move set pieces and Property Master equipment around and rig camera mounts. Handle Responsible for acquiring, placing and maintaining lighting equipment needed to diffuse and shape light any props used on set. at the direction of the D.P. The “key grip” is head of Rigger the department. Workers responsible for setting up lighting and Lead Man scaffolding on film sets. Assistant to the set decorator, supervising the sets Screenwriter crew. The writer of the original or adapted script from Line Producer which the production is shooting. See production manager/unit production manager. Script Supervisor Location Manager Monitors the script during shooting, making sure Scouts and manages all filming locations. Negotiates there are no continuity errors and that the film can contracts with property owners of shooting locations later be cut together in postproduction. Keeps track on behalf of the production company. Secures of all the details of each day’s shooting, including shooting permits and coordinates schedules with number of scenes shot and takes of each scene, what local officials. Makes sure there is proper parking for happened in the scene and any changes in the script cast and crew at the locations and that locations are that may impact future shooting days. Provides left in good condition after filming is completed. detailed reports to the production team and the Location Scout editors. Searches and photographs locations during Set Decorator preproduction based on the needs of the script. Works with the production designer on set design Prepares photo presentations for the director, and decoration and oversees the dressing of the set. producer or production designer. Sometimes Soundstage becomes the location manager once shooting begins A large soundproof area in a studio used to house or works under him or her. elaborate sets. Allows greater control over climate, Producer lighting and sound. The person who brings the entire project together Special Effects and oversees all aspects of production. In the early Also FX, SFX, SPFX. The techniques used to create stages, the producer may choose a script, hire a illusions (such as space travel, animatronics, etc.) or director, help in casting and find a place to shoot the to safely perform or give the appearance of project. Once cameras are rolling, the producer performing normally dangerous acts (explosions, makes sure the project comes in on time and on gunshots, etc.). budget. May also become involved in the editing and Stand-In postproduction phases, as well as marketing and A person who is physically similar to an actor and distribution. takes their place during preparation and blocking of a Production Assistant (P.A.) scene. Differing from the double in that they do not Assigned to a department or production office to appear on camera. assist with general tasks. Steadicam Production Coordinator A special harness-based system that allows a Serves under the production manager/unit cameraman to perform steady, dolly-like shots with a production manager (U.P.M.). Sets up and organizes handheld camera, allowing for much greater freedom the production office; coordinates travel and lodging of movement. for the crew; handles all paperwork related to Storyboard insurance, daily progress reports and other matters; A group of illustrations that summarize the various coordinates communication with the set and delivery shots required and provide a general overview of a of props, costumes, etc.; wraps out the production proposed film. office and closes all outstanding accounts at the end Talent of shooting. Term used to refer to all actors on a set. Lunch & Learn Series AICP MN 2015 Treatment A summation of a script, longer than a synopsis, with character descriptions, scene-by-scene descriptions and sometimes limited samples of dialog. Visual Effects Mostly executed in postproduction, visual effects involves coordinating live action footage with CGI or other footage (animation, models) to produce a visual that would otherwise be too costly, impossible or dangerous to film. Walk-through First rehearsal on the set, used to figure out lighting, sound, camera positions and some rudimentary blocking. Wrap The term used to signify the end of shooting (either for a day or the entire production). Lunch & Learn Series AICP MN 2015 .
Load more

Recommended publications
  • PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
    PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m.
    [Show full text]
  • Why YOU Should Be an English Major
    Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers.
    [Show full text]
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • 1 the Work of an Invisible Body: the Contribution of Foley Artists to On
    1 The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort Lucy Fife Donaldson, University of Reading Abstract: On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film. On-screen bodies are central to our engagement with film; the ways they are framed and captured by the camera guides our attention to character and action, while their physical qualities invite a range of engagement from admiration, appreciation and desire to awe, fear and repugnance.
    [Show full text]
  • Techniques of Cinematography: 2 (SUPROMIT MAITI)
    Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) The Department of English RAJA N.L. KHAN WOMEN’S COLLEGE (AUTONOMOUS) Midnapore, West Bengal Course material- 2 on Techniques of Cinematography (Some other techniques) A close-up from Mrinal Sen’s Bhuvan Shome (1969) For SEC (English Hons.) Semester- IV Paper- SEC 2 (Film Studies) Prepared by SUPROMIT MAITI Faculty, Department of English, Raja N.L. Khan Women’s College (Autonomous) Prepared by: Supromit Maiti. April, 2020. 1 Dept. of English, RNLKWC--SEM- IV—SEC 2—Techniques of Cinematography: 2 (SUPROMIT MAITI) Techniques of Cinematography (Film Studies- Unit II: Part 2) Dolly shot Dolly shot uses a camera dolly, which is a small cart with wheels attached to it. The camera and the operator can mount the dolly and access a smooth horizontal or vertical movement while filming a scene, minimizing any possibility of visual shaking. During the execution of dolly shots, the camera is either moved towards the subject while the film is rolling, or away from the subject while filming. This process is usually referred to as ‘dollying in’ or ‘dollying out’. Establishing shot An establishing shot from Death in Venice (1971) by Luchino Visconti Establishing shots are generally shots that are used to relate the characters or individuals in the narrative to the situation, while contextualizing his presence in the scene. It is generally the shot that begins a scene, which shoulders the responsibility of conveying to the audience crucial impressions about the scene. Generally a very long and wide angle shot, establishing shot clearly displays the surroundings where the actions in the Prepared by: Supromit Maiti.
    [Show full text]
  • Hollywood Movie Stars California History Section Display
    CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: cslcal@library.ca.gov Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater.
    [Show full text]
  • Different Dimensions, Philosophies and Techniques of Filmmaking
    Different dimensions, philosophies and techniques of filmmaking from a spontaneous one-day film idea to an Independent Film Production of a series ISWI 2021 & DITS - Production 02. June 2021 Who are we? TeamFnD “Freedom and Dependency” We are a student initiative of students of the TU Ilmenau and an independent film production. Together with professional filmmakers, national and international musicians, dancers and artists we currently producing a series called “Dancing in the Shadow” here in Ilmenau. Tamara K. Anastasiia S. Film Marketing & PR, Film Producer, Student at TU Ilmenau Alumni TU Ilmenau Lucas M. Cam Operator, Student at TU Ilmenau What’s the Workshop about? I. One-day film with a Smartphone II. Semi professional Shooting project III. Independent Film Production of a Movie IV. Dancing in the Shadow - Our production I. One-day film with a Smartphone What you need: ● content idea ● mobile phone ● smartphone stabilizer ● big plus: extra light & microphone ● an impression of how the final video should look like microphones for better sound lights stabilizer: gimbal and/or tripod I. One-day film with a Smartphone Useful advices Preparation ● hold cell phone straight ● What should be in the video? ● always film in landscape format, so 16:9 Objects? Persons? ● bring depth into the picture ● What should happen? Actions? ● objects in the foreground ● Write a shotlist for your sequence ● consistent movements and visual concept ● think about the transitions II. Semi professional Shooting project Preproduction Production Postproduction ● develop the story ● “less is more” - film with a ● use a good editing software ● create a storyboard to small crew, a few actors and (the best free one is Davinci visualize the ideas with minimal equipment Resolve which includes ● find actors, crew, location, ● Equipment: DSLR on a tripod professional Features) equipment or small gimbal with good ● build up all of that with a lenses a decent external ● organize the footage minimal budget microphone and 2-3 softboxes ● raw-cut the whole film or LED Panels.
    [Show full text]
  • Proposed Regulation of the Office of Economic Development Within the Office of the Governor
    PROPOSED REGULATION OF THE OFFICE OF ECONOMIC DEVELOPMENT WITHIN THE OFFICE OF THE GOVERNOR LCB File No. R120-13 AUTHORITY: 2013 Statutes of Nevada (SB 165) DRAFT REGULATION: Transferable Tax Credit for Producers of Qualified Film or other production pursuant to S.B. 165 Section 1. Purpose: The 2013 legislature enacted S.B. 165 to amend Nevada Revised Statutes Chapter 360 to authorize producers of film, television and other media productions in the State of Nevada, to apply to the Office of Economic Development for a certificate of transferable tax credits. S.B. 165 requires The Office to approve such applications if certain specified conditions are met, requires audits of productions granted certificates, identifies the types of expenditures and costs that may serve as the basis for transferable tax credits, and provides guidance on the calculation of the transferable tax credits. S.B. 165 also includes provisions authorizing the governing body of a city or county to grant abatements of certain permitting and licensing fees to a Producer of a Qualified Production. S.B. 165 further specifies the fees and taxes to which the transferable tax credits may be applied, and requires coordination of transferable tax credit activities among The Office, the Department of Taxation and the Gaming Control Board. The purpose of this draft regulation is to set forth how The Office will carry out its responsibilities pursuant to S.B. 165. These draft regulations do not address the responsibilities under this statute of the Department of Taxation or the Gaming Control Board, or those of governing bodies of cities or counties.
    [Show full text]
  • Film Terminology
    Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen.
    [Show full text]
  • List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
    List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
    [Show full text]
  • 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 b.elliott@cox.net 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 Vuwest@aol.com Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 tvcrews@crewwestinc.co 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 kucharo@cox.net 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 stevan@azfreelance.com 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 ranchobarcellos@cs.com Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production.
    [Show full text]
  • Woods Citizens Unhappy With
    IICYCUNG ClNIU HOffIC 01 eM NftfJI IOnllS on4 'ANI ,................. --- ......,.,.... ta ......~ _, CANs : ... c..".III~ - ....._ e- M a.-. " IoeIioIa. !Co-UNE 17'.1333 M J I "." 10 ...... I _. rosse Pointe ews Complete Ne.." Coverage of AU the Pointe. Vol. 35-No, 3. lie'" e.., GROSSE POINTE, MICHIGAN, THURSDAY, AUGUST 22, 1974 fl." Ptr Year 26 Pages-Two Sections-Section One HEADLINES Dedicated Coach Receives Honor Woods Citizens SEMTA Is ... • Concerned Unhappy with Over Decree Ordinance Provides for :ng n AMual Inspection, Pav... Pla Licensing, of Buses ft.1In4Iay, A.... 15 Opereted in City R Fb°rdR R ._PRESIDENTb Many Question Necessity end Overall Benefit of Bv D-er A, W.1.. Ic a ~Jl!IIi. NlAOD. was su • PEt H If J --a _ poeDaed today to appear ill Proposed' Improvement to Ive IS I The Woods Council at the Water.gate cover.yp trial of Sunningdale Plrk Via Specil' the refUlar meeting Mon- wasnext fUedmonth.in TbeU.S. subpoenaDistrict , Assessment Method day. 1August ed19, unanl.rdl Court on behalf of John D. By Roger A, Waha mous y pus an 0 • Ebrlichman, former domes. Over a dozen residents attended the regular nance to provide for the tic counsel to Mr. Nixon. meeting of The Woods Council Monday, August 19, annual ,inspection and H. The subpoena was addressed . d' I d ri bllc h cens1ng of all buaes op- to Mr. Nixon at the "Presl. to express their ISp easure, u ng a pu. c. .ear. erated within the city. dential compoWId, San Cleo ing, with the proposed special assessment dlstnci.
    [Show full text]