“The Art and Craft of the Director” Film Directing Audio Seminar Peter D
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Broadcast Bulletin Issue Number 285 17/08/15
Ofcom Broadcast Bulletin Issue number 285 17 August 2015 1 Ofcom Broadcast Bulletin, Issue 285 17 August 2015 Contents Introduction 5 Notice of Sanction Yoga for You Lamhe TV, 17 June 2014, 09:30 7 Note to Broadcasters 9 Code on the Scheduling of Television Advertising Standards cases In Breach Britain’s Got Talent ITV, 31 May 2015, 19:30 10 News Geo News, 7 May 2015, 08:00 and 14:00 17 Different Anglez New Style Radio 98.7 FM, 7 May 2015, 10:00 19 News ARY News, 7 May 2015, 11:10 and 14:05 21 News Samaa, 7 May 2015, 14:30 23 News Dunya News, 7 May 2015, 17:30 25 Resolved Off Their Rockers: Blue Badge Special (trailer) ITV, 30 May to 1 June 2015, various times pre-watershed. 27 Funded Factual Programmes cases Funded Factual Programmes: managing risks to editorial independence and ensuring viewer confidence 30 Assessment of programmes produced by FactBased Communications and other funded content BBC World News, CNBC and CNN International 33 FBC-produced programming BBC World News, various dates between 14 February 2009 and 2 July 2011 34 2 Ofcom Broadcast Bulletin, Issue 285 17 August 2015 Sponsored programmes BBC World News, various dates between 23 October 2009 and 4 June 2011 49 World Business CNBC, various dates between 17 December 2010 and 22 July 2011. 77 Marketplace Middle East and Quest Means Business CNN International, various dates between 6 March 2009 and 13 July 2011 95 Sponsored programmes CNN International, various dates between 14 August 2009 and 4 August 2012 115 Advertising Scheduling cases In Breach Advertising minutage -
Guidelines to Making Programmes for BBC World Service
Guidelines to Making Programmes for BBC World Service Titles and Descriptions It’s not just the programmes that need to have a sense of excitement and the ability to create curiosity in our audience and potential audience. Whatever we publish - titles, billings, online descriptions etc (known as ‘metadata’) - have an effect on how your programme performs on the web. Programme titles and descriptions should always be written in a way that encourages the most people to listen to it, makes the programme topic clear, and ensures visibility and findability across the web - in podcast provider spaces (such as Apple Podcasts, Spotify etc.), search engine results (such as Google) and other tech, such as voice-activated systems (such as Alexa). We need to have titles and programme descriptions five weeks before the transmission date. This ensures that both Press and Publicity have time to adequately promote the programme, and that these descriptions are ready in time for our automated systems. It can be difficult to update programme descriptions at some of their publication sites if the information arrives too close to transmission. Titles Indicate immediately what the programme or podcast is about. • Use clear simple language – no puns. Show the value of your content • Be succinct - take out any unnecessary words (use 50 characters max) • Put the words that convey most about the story at the front (apps may cut off the end of the title) • Use search terms so people can discover your content Examples of Good Titles • The Death Row book club • In search of the quarter-life crisis • ADHD and me • Finding the viruses that destroy superbugs • How Christo wrapped the Reichstag 1 Programme Descriptions We need you to provide two descriptions for each programme you deliver. -
3-Year Academic Assessment Plan Cover Sheet Email To: [email protected]
3-Year Academic Assessment Plan Cover Sheet Email to: [email protected] Program Information: Program Assessed MFA Writing for Dramatic Media Department Film College College of Fine Arts Department Chair Heather Addison Assessment Coordinator Sean Clark Date Submitted 12/20/2018 Contact Person for This Plan Name Sean Clark Phone 54536 Email [email protected] Please address the following items: • What are the student learning outcomes? Please provide a numbered list. • Plans must include a curriculum map showing which courses will address which learning outcomes. Examples can be found here: http://provost.unlv.edu/Assessment/map.html • Which learning outcomes will be assessed in each cycle year (i.e., assessment timeline)? • How will the learning outcomes be assessed? (Programs must use at least one direct assessment of student learning.) • Undergraduate programs should assess at least one University Undergraduate Learning Outcome (UULO) each year, which may or may not overlap with a program learning outcome. • Graduate programs should assess at least one outcome related to one of the following graduate level requirements each year: o student engagement in research, scholarship, creative expression and/or appropriate high- level professional practice. o activities requiring originality, critical analysis and expertise. o the development of extensive knowledge in the field under study. • What is your plan for sharing the assessment results and acting on them (i.e., closing the loop)? Please limit the narrative portion of your report to no more than four pages. You may attach appendices with data, tables, charts, or other materials as needed. Please explain the relevant conclusions from any appendices in your narrative. -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
2020 Croner Animation Position Grids.Xlsx
Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters, -
Writing for Broadcast Is a Compromise Between the Two.” It Is Unique but It Can Be Learned
FOREWORD This is the 19th edition of the Defense Information School Broadcast Writing Style Guide. The purpose for this style guide is to provide both an introduction and a reference for military broadcast journalists. The primary audience is DINFOS students at all levels learning the art of broadcast writing. We consider this guide a Standard Operating Procedure for them. Our intent is to include all Department of Defense members who write and prepare broadcast news releases, features, spots, and public service announcements for military and civilian media as the guide’s secondary audience. We encourage both students and writers working in the field to use the margins we’ve provided to make notes. Appendix B, the “sins” and “tips” of broadcast writing, is reprinted with permission from Writing Broadcast News; Mervin Block; Bonus Books, Inc., 160 East Illinois Street, Chicago, 1987. DEFENSE INFORMATION SCHOOL BROADCASTING DEPARTMENT FORT GEORGE G. MEADE, MD 20755 JANUARY 2006 Contents Broadcast Writing ....................................................................................................................... 1 The Six "Cs" ............................................................................................................................... 2 Broadcast News Structure........................................................................................................... 3 Verbs..........................................................................................................................................4 -
Bob Oei Thesis Final Final
ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15 -
VU Resume 111720
VANESSA UHLIG vanessauhlig.com EDUCATION UNIVERSITY OF TEXAS AT AUSTIN Master of Fine Arts, May 2019 Film and Media Production, Moody College of Communication UNIVERSITY OF CALIFORNIA AT DAVIS Bachelor of Arts, Highest Honors, May 2007 English, College of Arts and Sciences SKILLS • Pre-Production: Movie Magic Scheduling, Final Draft, Shot Designer, Adobe Creative Suite • Production: Canon, Sony, Black Magic camera systems; 16mm / 35mm film cameras, field sound recording equipment • Post-Production: Avid Media Composer Certified, Adobe Premiere Pro, Final Cut, Avid Pro Tools, Adobe Audition • Languages: Spanish [proficient], Thai [intermediate], French [intermediate], Kaqchikel Maya [beginning] SELECTED PRODUCTION CREDITS Writer/Director/Producer The Low Season (narrative feature) script in development to be produced and shot in Guatemala Las Cruces (short narrative/documentary hybrid) thesis film, UT Austin [premiered at Austin FF] A Woman Loves (narrative short) screened at UT SXSW Showcase (2018) Jazz for Sleep (narrative short) screened at UT SXSW Showcase (2017) If You Were Going to Leave (short documentary) University of Texas at Austin (2016) A Note (narrative short) screened at CineAid FF and Bangkok Short FF (2015) Writing Department SKAM Austin Season 1 Facebook Watch (2018) [Script Coordinator] Production Panic Season 1 Amazon Studios (2020) [Director’s Assistant - Blocks 2 and 4] SKAM Austin Season 2 Facebook Watch (2018) [Production Assistant] Overachievers (narrative short) Sam Mohney Productions (2019) [Producer and First AD] The Fix (narrative short) Edward Jack Productions, premiered Palm Springs FF (2017) [Producer and First AD] Motorized Subcultures (TV episode) Dragonfly Media/Discovery Channel (2015) [Segment Field Producer] Kong: Skull Island (Thai Unit) Legendary Pictures/Warner Brothers (2015) [Production Assistant] Star Wars: The Last Jedi (Thai Unit) Lucasfilm/Walt Disney Pictures (2015) [Production Assistant] “Bucket List” (TVC) Expedia/Park Pictures d. -
Commissioning Round for 2021-22
Commissioning Round for 2021-22 Timetable and Guidelines to making programmes for BBC World Service The Commissioning Timetable 2020* Thursday 2nd July 2020 Guidelines will be published on https://www.bbc.co.uk/programmes/articles/3hVSnfcdKWdtW0tffb81FbV/bbc-world-service Proteus opens - at this stage Commissioning Editors only require THREE LINE DESCRIPTIONS. Please use the SHORT SYNOPSIS box only. Sports Podcast Timetable *Please note: There is a separate timetable for the Sports Podcast: This is one round only (see the brief for details of what is required) Thursday 20th July (12 noon) Deadline for submissions for initial proposals into Proteus. At this stage Commissioning Editors only require THREE LINE DESCRIPTIONS. Please use the SHORT SYNOPSIS box only Thursday 30th July (12 noon) Deadline for submissions for Sports Podcast Mid-September Results for Sports Podcast will be published in Proteus. Thursday 10th September Pre-offers results published in Proteus. Wednesday 30th September (12 noon) Deadline to submit your final proposals into Proteus. End October Results will be published in Proteus. ***NB: Please ensure that you have access to Proteus early in the process.*** We do not accept proposals from individuals – submissions MUST come through an in-house supplier or registered independent production company. For independent suppliers: details of how to register your company for the database can be found at https://www.bbc.co.uk/commissioning/radio 1 Contacts Mary Hockaday, Controller [email protected] Steve Titherington, -
Scenechronize Notes Go To: Click on the Sign up for Free! Badge
Film Production Management FIL6467 Summer B 2010 Scenechronize Notes Go to: https://www.scenechronize.com/ Click on the Sign Up For Free! badge. Pick Solo Scheduling and Feature. Follow instructions for getting your account set up. Upload My Mother script. It will ask you to fix the first two lines at the top of the first page. Make them both Start of Act. To get started on breaking down the script, click on Scenes in the upper left corner. Add elements by highlighting as per the lecture from Edgar on Tuesday – the box will pop up and guide you. For Cast, click on the + button in the Characters element line – the program has already pulled out the cast names form the script, so you only have to click on the right name. It has done the same thing for Sets. Leave Location blank, we don’t know what they are for this exercise. When you have gone through and broken down every scene in the script, click on Stripboard. Pick Sat and Sun as the days off for your schedule. Start your start production for June 14, 2011. Go through the schedule and check for exterior nights, and page count per day, and logic of what days are next to each other. If you make an assumption about how you are putting the days together, include it on the SCHEDULE ASSUMPTIONS form (follows this memo). When ready to print, click on Reports and then One Liner. Print the one liner, double check it for: • Set name consistency • Pager per day count • Typos • No blank set names or scene action lines. -
Canadian Canada $7 Fall 2016 Vol.19, No.1 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 FALL 2016 VOL.19, NO.1 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA We Celebrate Our Epic Screenwriting Success Stories It’s Time To Work On Your Pitch Baroness Von Sketch Show: Creating A World In Two Minutes Animated Conversation: Ken Cuperus Opens Up About His Live Action-Cartoon Crossover PM40011669 ★ ★ SCREENWRITERS STAY TUNED FOR IMPORTANT DEADLINES THE 21ST ANNUAL WGC SCREENWRITING AWARDS APRIL 24, 2017 | KOERNER HALL, TORONTO 2017 SPECIAL AWARDS: THE WGC SHOWRUNNER AWARD for excellence in showrunning THE JIM BURT SCREENWRITING PRIZE for longform screenwriting talent THE SONDRA KELLY AWARD for female screenwriters CALL FOR ENTRIES COMING SOON TO WWW.WGC.CA CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 19 No. 1 Fall 2016 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Contents Publisher Maureen Parker Editor Tom Villemaire Features [email protected] Having An Animated Conversation 6 Director of Communications Li Robbins We talk to Ken Cuperus about how he and his writing team create a hybrid animation and live-action comedy. Editorial Advisory Board By Mark Dillon Denis McGrath (Chair) Michael MacLennan Susin Nielsen Simon Racioppa Changing The Rules 12 President Jill Golick (Central) While bureaucrats tinker with the points system in an effort Councillors to make Canadian television more successful, we offer our Michael Amo (Atlantic) epic track record, proving the system works. Mark Ellis (Central) By Matthew Hays Dennis Heaton (Pacific) Denis McGrath (Central) Warming Up For The Pitch 16 Anne-Marie Perrotta (Quebec) Pitching is often a bigger challenge to writers than, Andrew Wreggitt (Western) well, writing. -
50 Years of BBC Television News
Foreword BBC Television News is 50 years old at 7.30pm on July 5th, 2004. Since its launch half a century ago BBC Television News has maintained its core commitment to strong, impartial, distinctive journalism covering events both here and across the globe.The broadcasting landscape may have changed beyond all recognition but in today’s multi-channel world it continues to be a trusted voice in the UK and across the globe. Television News now belongs to the wider stable of BBC News - the largest broadcast news operation in the world with more than 2,000 journalists and over 40 newsgathering bureaux, the majority of which are overseas. It is responsible for the BBC One bulletins, Breakfast and Breakfast with Frost, Newsnight, 60 seconds on BBC Three and the news output on BBC Four. It is also responsible for the two BBC continuous news channels, BBC News 24 and BBC World. The size and scope of BBC News, its journalists and specialists, means that it can cover stories and issues that sometimes other broadcasters can’t. More than 18,000 hours of programming originate from BBC Television News every year.That equates to an average of almost 50 hours of output every day. Over the past five decades this has included reports on all the major news stories and pivotal moments from the first man on the moon, the assassination of John F Kennedy, to famine in Ethiopia, the Vietnam war, and the current war in Iraq. BBC Television News has been there for moments of great historical change such as the fall of communism and the end of apartheid as well as tragic stories, including the death of Princess Diana and the September 11th attacks.