Scheduling and Budgeting Your Film 1St Edition Ebook
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Steinhart Runaway Hollywood Chapter3
Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs. -
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). -
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. -
QUEBEC FILM SOURCEBOOK 2016 Update 2015-12
QUEBEC FILM SOURCEBOOK 2016 Update 2015-12 WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM QUEBEC FILM AND TELEVISION COUNCIL TOLL FREE: 1 866 320 FILM (3456) Telephone: 514 499-7070 Fax: 514 499-7018 [email protected] www.qftc.ca For the e-book version go to www.quebecfilmsourcebook.com DISCLAIMER Although every effort has been made to ensure that this information is correct, the publisher cannot guarantee accuracy. Please take note that the information herein is meant to be used as a guide only. © Copyright 2015, Quebec Film and Televison Council. 2015 Edition Published by Quebec Film and Television Council It is a pleasure for us to provide you with this invaluable tool that is the Quebec Film SourceBook (QFSB), the annual directory of the Quebec film and television industry. Now in its 5th edition, the QFSB is a comprehensive guide to the best of what Quebec has to offer in terms of labor, services, resources and infrastructures to help you film your production in our province. In it, you will also find all you need to know about our generous tax incentives, our unions and guilds, as well as our regional and municipal film offices – everything to ensure your film or TV shoot runs as smoothly as possible, from pre-produc- tion to the production, post-production and VFX stages. -
Phantom Tail Credits
Directed by Simon Wincer Written by Jeffrey Boam Based on the Phantom characters created by Lee Falk Produced by Robert Evans and Alan Ladd, Jr. Executive Producers Dick Joe Vane Dante Co-producer Jeffrey Boam Executive Producers Graham Burke Greg Coote Peter Sjoquist Bruce Sherlock Director of Photography David Burr Production Designer Paul Peters Edited by O. Nicholas Brown and Bryan H. Carroll Costume Designer Marlene Stewart Music by David Newman Billy Zane Kristy Swanson Treat Williams Catherine Zeta Jones James Remar Jon Tenney Cary-Hiroyuki Tagawa and Patrick McGoohan Bill Smitrovich Casey Siemaszko David Proval Joseph Ragno Samantha Eggar Robert Coleby Casting by Deborah Aquila, C.S.A. Jane Shannon Smith, C.S.A. Paramount Pictures Presents in association with Robert Evans and The Ladd Company A Village Roadshow Pictures Production A Simon Wincer Film In Association with Boam Productions Associate Producer Bonnie Abaunza Unit Production Manager Steven Felder First Assistant Director Robert J. Donaldson Second Assistant Director Simon Warnock Supervising Art Director Lisette Thomas Set Decorator Amy Wells Stunt Coordinator Billy Burton Camera Operator Louis Irving First Assistant Photographers Colin Deane Katrina Crook Second Assistant Photographer Nick Watt B Camera/Steadicam Operators Brad Shield Paul Taylor Camera Technician Laurence Rooney Script Supervisor Judy Whitehead Still Photographer Andrew Cooper Sound Mixer Ben Osmo Boom Operator Gerry Nucifora Video Assistant Technician Abe Elshaikh Construction Coordinator John Villarino Property Master Bill Petrotta Assistant Property Master Michael R. Gannon Set Dressers Jeffrey Debell James D. Bishop Chief Lighting Technician Brian Bansgrove Assistant Chief Lighting Technician Colin Chase Lighting Technicians Grant Atkinson Justin Plummer First Company Grip Lester Bishop Second Company Grip Terry C. -
Almost an Angel Tail Credits
Cast of Characters Terry Dean Paul Hogan Steve Elias Koteas Rose Garner Linda Kozlowski Mrs Garner Doreen Lang Father Douglas Seale Irene Bealeman Ruth Warshawsky George Bealeman Parley Baer Sergeant Freebody Michael Alldredge Detective Bill David Alan Grier Teller Larry Miller Bubba Travis Venable Guido Robert Sutton Reverend Barton Ben Slack Tom the Guard Troy Curvey, Jr, Young Guard Trainee Eddie Frias Thug Peter Mark Vasquez Thug’s Crony Lyle J. Omori Prisoner #1 Joseph Walton 2nd Male Teller Steven Brill Uniformed Cop Richard Grove Mother Susie Duff Small Boy Justin Murphy Driver (Van) Greg Barnett Doctor Ray Reinhardt Young Nurse Laurie Souza Pop Hank Worden Bank Customer #1 Vickilyn Reynolds Bank Customer #2 Shawn Schepps Bank Teller Candi Milo Hood Nervo at Bank Randy Vasquez Hood Driver at Bank Mike Runyard Wino in Lane Tony Veneto Man with “T” Shirt Doug Ford Homeless Man Charles David Richards Bonzo Burger Server Brian Frank Female TV Reporter Linda Kurimoto Diner Waitress Stephanie Hodge Moses Bros. Truck Driver Bob Minor Paradise Bar Bartender Leslie Morris Man at Bar Don G. Ross Paradise Bar Local Hal Landon, Jr. Paradise Bar Pool Player Steph Duvall Small Town Older Hood William DeAcutis Small Town Younger Hood Sean Faro Boxing Boy Christian Benz Belnavis Girl Jeri Windom Boy #1 E’Lon Boy #2 Jason Marsden Boy #3 Bert David DeFrancis Boy #4 Anthony Trujillo Terry’s Hit Truck Driver Peter Stader Paramedic Joey LeMond Special Appearance by Joe Dallesandro as Bank Hood Leader Stunt Players Noon Orsatti Jack Gill Ernie Orsatti James Halty Rawn Hutchinson Andy Gill Gene LaBelle Ronnie Rondell Mike DeLuna Chris Nielsen R. -
Directors Guild of America, Inc. National Commercial Agreement of 2011 Table of Contents
DIRECTORS GUILD OF AMERICA, INC. NATIONAL COMMERCIAL AGREEMENT OF 2011 TABLE OF CONTENTS Page WITNESSETH: 1 ARTICLE 1 RECOGNITION AND GUILD SHOP 1-100 RECOGNITION AND GUILD SHOP 1-101 RECOGNITION 2 1-102 GUILD SHOP 2 1-200 DEFINITIONS 1-201 COMMERCIAL OR TELEVISION COMMERCIAL 4 1-202 GEOGRAPHIC SCOPE OF AGREEMENT 5 1-300 DEFINITIONS OF EMPLOYEES RECOGNIZED 1-301 DIRECTOR 5 1-302 UNIT PRODUCTION MANAGERS 8 1-303 FIRST ASSISTANT DIRECTORS 9 1-304 SECOND ASSISTANT DIRECTORS 10 1-305 EXCLUSIVE JURISDICTION 10 ARTICLE 2 DISPUTES 2-101 DISPUTES 11 2-102 LIQUIDATED DAMAGES 11 2-103 NON-PAYMENT 11 2-104 ACCESS AND EXAMINATION OF BOOKS 12 AND RECORDS i ARTICLE 3 PENSION AND HEALTH PLANS 3-101 EMPLOYER PENSION CONTRIBUTIONS 13 3-102 EMPLOYER HEALTH CONTRIBUTIONS 13 3-103 LOAN-OUTS 13 3-104 DEFINITION OF SALARY FOR PENSION AND HEALTH CONTRIBUTIONS 14 3-105 REPORTING CONTRIBUTIONS 15 3-106 TRUST AGREEMENTS 16 3-107 NON-PAYMENT OF PENSION AND HEALTH CONTRIBUTIONS 16 3-108 ACCESS AND EXAMINATION OF BOOKS RECORDS 17 ARTICLE 4 MINIMUM SALARIES AND WORKING CONDITIONS OF DIRECTORS 4-101 MINIMUM SALARIES 18 4-102 PREPARATION TIME - DIRECTOR 18 4-103 SIXTH AND SEVENTH DAY, HOLIDAY AND LAYOVER TIME 18 4-104 HOLIDAYS 19 4-105 SEVERANCE PAY FOR DIRECTORS 20 4-106 DIRECTOR’S PREPARATION, COMPLETION AND TRAVEL TIME 20 4-107 STARTING DATE 21 4-108 DIRECTOR-CAMERAPERSON 21 4-109 COPY OF SPOT 21 4-110 WORK IN EXCESS OF 18 HOURS 22 ARTICLE 5 STAFFING, MINIMUM SALARIES AND WORKING CONDITIONS OF UNIT PRODUCTION MANAGERS, FIRST ASSISTANT DIRECTORS & SECOND ASSISTANT -
FAQ About Film Production — 1 Action Movie Makers Training
Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki. -
Screen Credits Guidelines Long Form & Episodic Credits Guidelines March 2019
Screen Credits Guidelines Long Form & Episodic Credits Guidelines March 2019 1 | Page - Viacom Screen Credits Guidelines Contents Starting Screen Credits ........................................................................................................................................................... 3 Opening Titles ......................................................................................................................................................................... 3 Title Card ............................................................................................................................................................................. 3 Series Regulars ................................................................................................................................................................... 3 Producers ............................................................................................................................................................................ 3 Guest Stars .......................................................................................................................................................................... 3 Casting Director .................................................................................................................................................................. 4 Casting Associate ........................................................................................................................................................... -
Glossary-Of-Film-Terms.Pdf
Glossary of Terms While there are many job descriptions on a film or television set, these are the people you might come into contact with: Assistant Director (A.D.): Carries out the Director’s instructions and runs the set. The First A.D. is responsible for preparing the production schedule and script breakdown, making sure shooting stays on schedule and on budget. The Second A.D. is responsible for distributing information and cast notifications, keeping track of hours worked by cast and crew, management of extras, signing actors in and out, preparing call sheets and is in charge of the Production Assistants. Buyer : Responsible for buying or renting props, furniture, costumes and other items on behalf of the Art Department. Art Director : Reports to the Producion Designer and directly supervises the art department as they design sets and create graphic art for the production design of the film. Works closely with the Construction Coordinator to oversee set construction. Best Boy: Chief assistant to either the gaffer or key grip. Responsible for the daily running of the lighting or grip department. Camera Operator: Operates the camera under instruction from the Director of Photography. Casting Director: Supplies actors for the film or television show. Construction Coordinator : AKA the Construction Manager, this person supervises and manages the physical construction of sets and reports to the Art Director and Production Designer. Craft Services: Provides on-set snacks and drinks for cast and crew. Not the same as the caterer. Director: The person in charge of the overall cinematic vision of the film and the performance of the actors. -
DIRECTORS GUILD of AMERICA JOB CLASSIFICATIONS & DEFINITIONS A. Director: Directs the Production of Motion Pictures And
DIRECTORS GUILD OF AMERICA JOB CLASSIFICATIONS & DEFINITIONS A. Director: Directs the production of motion pictures and whatever is seen & heard in the finished product. He also directs all related functions & activities required for translating & transferring the script, premise, idea and/or concept to the audiovisual images. These directorial functions will include: --Surveying & approving all locations and their use as they pertain to the directorial concept and need. --Directorial planning & breakdown of the shooting script. --Plotting the camera angle & composition within the frame. --Participation in determining the requirements of the set, costumes, make-up, props, etc., for their proper directorial perspective and mechanical functioning. --Participation in the final casting of all performers. --Rehearsing actors, extras, and any of the visual & audio devices necessary for the completion of the production. --Directing the action of all actors, extras, etc. --Directing the dialogue as well as prerecording & post-recording of dialogue. --Directorial supervision of the duties of the entire crew during the rehearsal & shooting periods. --Making such script changes as necessary, within his jurisdiction, for the proper audiovisual presentation of the production. --The right to the first cut. Prior to completion of principal photography the Director will be advised of and will participate in considerations with respect to the utilization of the following: Trick shots Transparencies Process plates Background Inserts Stock Film Montages Glass & matte shots Miniatures Optical devices The Director’s total function is to contribute creatively to all these above elements and to guide, mold and integrate them into one cohesive dramatic and aesthetic whole. B. Director (Employee)—Commercials & N/T: A Director who works continuously & exclusively for a producer and is sometimes engaged in crafts or functions other than directing, and who is also assigned to direct productions. -
Production Job Descriptions
New Mexico State Film Office / 2017 Industry Job Descriptions ABOVE-THE-LINE and BELOW-THE-LINE “Above-the-line” (ATL) is an industry term derived from where the money is budgeted for Writers, Directors, Producers and Principal Talent. This term refers to job positions that are associated with the creative and/or financial control of a film or multimedia project, not the technical aspects. “Below-the- line” (BTL) is an industry term associated with the “fixed” costs. Examples include studio fees, equipment rental, travel costs and crew rates. Therefore, BTL crew refers to the technical crew hired for the length of the production, often paid hourly or weekly for that time period. These individuals do not have primary creative or financial control of the project, nor do they receive residuals. BTL DEPARTMENT HIERARCHY Starting at the top, the Director hires the Production Designer and the Director of Photography (DP) while the Producer hires the Line Producer and/or Unit Production Manger (UPM). The Production Designer, DP and the Line Producer/UPM then go about hiring their Department Heads, Supervisors and Keys. The Key is considered the top-ranked technical, BTL position in a department. In some departments, the Key is referred to as a Coordinator; in locations, it is the Manager and in camera, it is the Operator. The Key hires the “Best Boy” (or a Foreman) who is second-in-command, acts as an operations manager and hires the rest of the crew in their department. There is only one person hired in the Key and Best position in each department in a regional location (such a New Mexico).