DOCSLIB.ORG

2010 Firstlight Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2011 Sports Reporting for Television & Radio NEW Take students into the Broadcast Booth, Pro- duction Trailer & on the field, for a realistic, close-up look at the work done by reporters, play-by-play announcers, sports anchors & sports broadcast producers. Students will learn from broadcast veterans who are announcers for major league, professional teams as they share their valuable insights and experience. Designed for students who want careers in sports announcing, sports journalism or for those who want to work as a Media Relations specialist for a college or professional team. (see page 2) The Crew Series NEW HHH - Video Librarian Series Go Behind the Scenes of the Film Industry & Discover the Secrets of ‘Breaking in’ to Film Production Valuable for students aspiring to enter the world of Filmmaking In this six program series, The Crew unravels the mystery and explores the various technical posi - tions that form a film production unit. Covering 18 different departments from Grips to Costume, Lighting to Makeup, the series vividly presents the jobs and lives of film production workers and explores the technical aspects of producing a film by talking to the people who make it happen. (see page 3) FIRST LIGHT TARGETED TRAINING by Industry, Craft & VIDEO PUBLISHING 2321 Abbot Kinney Blvd. Discipline for Career Paths in Media Venice, CA 90291 FIRST LIGHT VIDEO , the premiere distributor of media training programs for students, institutions, teachers Toll Free: 1-800-262-8862 & professionals. We are pleased to announce a wide spectrum of new programming for broadcast journalism, film - International: 1-310-577-8581 making, videography & theatre for school instruction, community education & digital delivery. Fax: 1-310-574-0886 Digital Rights: The majority of our programming is available for digital video delivery making it easier than ever E-mail: [email protected] Web: www.firstlightvideo.com to incorporate and use in lesson plans, student review and tutorials. Digital rights licenses and the cost of each digital program depend on term, class size, number of locations and whether duplication rights are required. New Programming These pricing options can provide you with great flexibility and cost savings over multiple hard copy purchases Film, Television & Video and allow you to build your digital media library to meet your specific needs. You can also choose to lease digi - Business Side of tal rights for selected titles from one to five years or purchase them outright. Successful Filmmaking Series . 13 On demand viewing is available for selected titles. Web based delivery means there’s no hard copy inventory to purchase or maintain and programs can be viewed anytime and from anywhere. Available titles are marked DDD in Power of Lighting for Film & Video . 3 the catalog. If your institution does not allow Internet access for security reasons, media can be hosted locally. Safety on Set . 3 For licensing inquiries and pricing contact us by email at [email protected]. The Crew . 3 Acquisitions: We are always looking for new programming that is of benefit to academic users. First Light distrib - utes for many universities and producers and can provide a revenue stream for content providers while allowing Journalism, Broadcast & Print audiences to benefit from the work. Consider having First Light distribute for you. Please contact us by email to Sports Reporting for Television & Radio . 2 Acquisitions - [email protected]. Theatre, Performing Arts NEW Sports Reporting for Television & Radio – Broadcast Journalism MakeUP FX – Film & Television Makeup . 22 Take students into the Broadcast Booth, Production Trailer & on the field, for a realistic, Reclaiming the Blade . 25 close-up look at the work done by reporters, play-by-play announcers, sports anchors & The Westmore Monsters Of Hollywood . 22 sports broadcast producers Produced by Marty Gonzalez, weekend anchor of Table of Contents The KRON 4 Morning News Journalism, Broadcast & Print . 3 - 6 This program is designed for students who want careers in sports The Business of TV News announcing, sports journalism or for those who want to work as a Writing for the Screen Media Relations specialist for a college or professional team. This program takes students into broadcast booths and news - Writing for TV, Film & Radio rooms for an inside look at what it takes to begin a career as a Television play-by-play announcer, color commentator, or sports journalist. Film, Television & Video . 2, 3, 7 - 13 Students will learn from broadcast veterans who are announcers for major league, professional teams as they share their valuable Film School/Filmmaking insights and experience. Television Academy Career Series Working for a Pro Team: Imagine a sportscast without athlete Camera and coach interviews. Access to the athletes and coaches is a cen - Editing Techniques tral part of any sports broadcast. Who provides the broadcasters and journalists all the statistics and access to the athletes? It is Lighting Techniques part of the work done by the Media Relations specialists for pro - Post – Editing Techniques fessional teams. Learn how to get one of these coveted jobs from Post – Production Abby Tomlin, a Media Relations Specialist with the Texas Rangers. Abby talks about her duties on game day and the skills needed to Cinematography . 14 - 16 work for a pro team. Lighting & Camera Baseball Play-By-Play: Go behind the microphone and into the Film, Visual Language broadcast booth for the Oakland A’s radio network. Veteran announcer Ken Korach gives students a glimpse at what it’s like to Audio, Sound & Music Production . 17 stay on top of the action for the radio audience. Ken provides important tips for any student who wants a career Recording Techniques as a play-by-play announcer and discusses the importance of versatility, a good vocabulary and strong work ethic. Spanish Baseball Play-By-Play En Espanol: Veteran play-by-play announcer Amaury Pi Gonzalez has seen first Radio Production . 18 hand the dramatic growth in Spanish language sports broadcasting. The overwhelming majority of pro teams in Technical & Creative Techniques major sports leagues have a Spanish language broadcast. The Spanish language newscast is the highest rated in some television and radio media markets. Amaury discusses the importance of developing or strengthening Mass Communications . 19 Spanish and other language skills. With one-third of MLB players from Latin America and a growing NBA pres - Media ence of European players, it is more important than ever for sports journalists to have at least an understanding of multiple cultures and languages. Animation, Special & Visual Effects . 20 One Man Band Reporter: Follow sports journalist Eric Hodge as he reports on a story for the evening sportscast. Digital Effects, Polymer Clay Eric is a “one-man band”; he reports, shoots, edits and writes his reports every day. The one-man band is a staple of small market electronic media and is increasingly being seen in larger television markets. Learn the “ins & outs” Theatre, Performing Arts . 21 - 29 from Eric as he makes his way towards the evening deadline & delivers his finished package. Mask Making, Costume Design How to Get Hired-Tips from the News Director: Watch as Trisha Coder, a News Director from an entry-level tel - Make-up & Special Effects evision station evaluates video resume clips from several hundred applicants. Trisha provides valuable tips on Set/Props, Visual Effects what will make your video stand out from the rest. This section is essential for students who are producing the Dance, Combat For Stage & Screen “all important” resume video. 30 min. DD F2677DVD $99.00 Swordplay, Stage Movement Auditioning Stage Production, Vocal Techniques Advanced Screenwriting Series Acting & Directing with Linda Seger American Contemporary Theatre In this three-part series, script consultant & screenwriting teacher, Dr. Linda Seger takes students to the next step, to Media . 30 further integrate the story, theme & characters. Advertising & TV (see page 4) SAVE $20 3 DVD Set: FSCREENSET $219.85 2 www.firstlightvideo.com Film, Television & Video Lighting, Safety, Film Making N E W The Crew Series NEW NEW Safety on Set Go Behind the Scenes of the Film Industry Series A Safe Production is a Successful Production HHH - Video Librarian A Guide to Crew Safety Procedures in Film and Video Production Discover the Secrets of Breaking in to Film Production & the Tools Adopted by educators at Chapman, NYU & USC film schools Necessary to Make an Informed Career Choice This comprehensive guide to basic safe con - Valuable for students aspiring to enter the world of Filmmaking duct and procedures for film and video pro - A fascinating and informative ductions is an overview of Industry standard series, realistic about life in safe practices that distinguish professional the film industry and what it film makers from amateurs. Not only will it takes to succeed. The Crew , be useful to anyone new to film production: not only unveils the secrets aspiring professionals, first-time filmmakers of “breaking in” to the film and for educational institutions where film business but also provides production is offered, it also is a review for the tools necessary to make any film or TV set where there are new crew an informed career choice. hires, visitors or stage actors unfamiliar with Young people everywhere are the complexity of a working film set. It pro - interested in “breaking in” to vides filmmakers and students with guidance film production. However it on behaving safely, professionally, and with a is a business shrouded in constant eye to avoiding potential and often mystique and it is very difficult to find out what it’s all about or how to get started. life threatening hazards on a film shoot. In this six program series, The Crew unravels the mystery and explores the various Safety should be the first concern of every technical positions that form a film production unit.
Recommended publications
  • The Producing Process 3

    The Producing Process 3

    03-Schultz.qxd 6/29/2004 12:34 PM Page 37 The Producing Process 3 y now, you have a pretty good idea of what a producer does to get B a newscast on the air. So far, we have only talked about these duties in the abstract sense. It is now time to take a closer look at the step-by-step process of putting a show together. Story Ideas and News Value A newscast starts with a series of story ideas, which are nothing more than potential ideas that could eventually end up in the show. Story ideas come from a variety of sources, and the good producer will often come to work with several story ideas already formulated. These may come from other media, be follow-ups from stories done the previous day, or be a consequence of personal observation (see Table 3.1 for examples). Producers like their reporters to come to work with story ideas, and reporters should have some concrete suggestions for stories, even if these ideas never pan out. Too many reporters show up with the expectation that producers will have a story already assigned to them. This can waste a lot of precious news time as reporters scramble to try and set up a story or contact news sources. Producers and reporters will suggest their story ideas at the editorial meeting, where they and the news director will discuss events going on in the area. The purpose of the meeting is to consider all possible story ideas and narrow them down to a list of stories that will go in the newscast.
  • THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS

    THE NATIONAL ACADEMY of TELEVISION ARTS & SCIENCES ANNOUNCES the 43Rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS

    THE NATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES ANNOUNCES The 43rd ANNUAL DAYTIME EMMY® AWARD NOMINATIONS Daytime Emmy Awards To be held at the Westin Bonaventure Hotel and Suites on May 1st Daytime Creative Arts Emmy® Awards Gala on April 29th Individual Achievement in Animation Honorees Announced New York – March 24th, 2016 – The National Academy of Television Arts & Sciences (NATAS) today announced the nominees for the 43rd Annual Daytime Emmy® Awards. The awards ceremony will be held at the Westin Bonaventure Hotel and Suites on Sunday, May 1st. The Daytime Creative Arts Emmy Awards will also be held at the Bonaventure on Friday, April 29th, 2016. The 43rd Annual Daytime Emmy Award Nominations were revealed today on the Emmy-winning show, “The Talk,” on CBS. “After last year’s critically successful Daytime telecast, it is with great disappointment that The National Academy of Television Arts & Sciences (NATAS) announces that there will not be a broadcast of the 43rd Annual Daytime Emmy ® Awards,” said Bob Mauro, President. “After months of negotiations to find show sponsorship, the NATAS Executive Board has decided that the current climate for awards shows prohibits the possibility of a telecast this year. With that said, we will be putting on a world-class awards celebration honoring the best and brightest of Daytime television and look forward to an exciting show. All efforts regarding returning the annual gala to television in 2017 are underway.” “We are especially grateful for our passionate Daytime fans and are looking forward to producing a grand gala that honors the talents and artistries of all the professionals that represent Daytime television,” said David Michaels, SVP, Daytime Emmy Awards.
  • 50Th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED

    50Th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED

    1 50th Annual NORTHERN CALIFORNIA AREA EMMY® AWARD RECIPIENTS ANNOUNCED The 50th Annual Northern California Area EMMY® Awards were presented Saturday evening, June 5th for the second time via webcast only. The EMMY® Award is presented for outstanding achievement in television by The National Academy of Television Arts & Sciences (NATAS). San Francisco/ Northern California is one of the nineteen chapters awarding regional Emmy® statues. Northern California is composed of media companies and individuals from Visalia to the Oregon border and includes Hawaii and Reno, Nevada. Entries aired during the 2020 calendar year. A total of 912 entries were received, 765 English and 195 Spanish in 68 English Categories and 34 Spanish Categories. Nominations were announced on May 5th with 195 English and 76 Spanish. Electronic ballots were submitted by a minimum of seven peer judges from other NATAS chapters and were sent directly to our accountant. The Spanish and English awards are judged and scored separately and then presented at the ceremony. 353 Emmy® statues were handed out to 263 individuals. The top two recipients were Maikel D'Agostino, Photograpoher/Editor, KUVS Unvision 19, Sacramento with ten, and Jonathan Bloom, Video Journalist, KNTV NBC Bay Area, with Six. The Emmy® is awarded to individuals but there is a lot of interest in the station counts: KNTV NBC Bay Area took home 16 for the English contest and KUVS Univision 19 with 12 for the Spanish contest. The overall Excellence Emmy® awards went to KNTV NBC Bay Area, English and KUVS Univision 19, Spanish. The prestigious Governors’ Award, the highest honor a regional chapter can award was presented to Wayne Freedman, Reporter, KGO ABC 7, San Francisco.
  • The Producer Written by Ivo Burum

    The Producer Written by Ivo Burum

    The Producer written by Ivo Burum There are various producer titles each relating to a role in the development, production, delivery and marketing cycle of a film, video, or online media project. Figure 1 Shows a hierarchical order of producing for a magazine and a current affairs show.: Executive Producer or EP credits in television are received by individual(s) who report to the networks, studios, or companies funding and distributing the series/show. The Executive Producer (Showrunner) has final responsibility for the creative and business aspects of producing a series. S/he will have direct authority over a majority of the producing functions throughout all phases of series production. The Executive Producer is often responsible for the creation of the series, including the concept, format and other production elements. Over the course of production, the Executive Producer is expected to serve as the primary point-of-contact with the network, studio, and/or production company regarding the development, production, post-production and marketing of the series. During development of the pilot and/or series, the Executive Producer will supervise or participate in story or script meetings, approve all storylines, and supervise the creation of the series "bible.” The Executive Producer will select or approve the hiring of all series directors, as well as the casting of all on camera talent including hosts and journalists. S/he will similarly select or approve of the hiring of key members of the producing team, such as the production manager, director of photography, and composer. The Executive Producer must supervise or approve the series budget and production schedule.
  • Dead Zone Back to the Beach I Scored! the 250 Greatest

    Dead Zone Back to the Beach I Scored! the 250 Greatest

    Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ ��������������������������
  • All Aware of Course That the Annual Report of the Oscar Long Ago Attained an Extraor­ Academy of Motion Picture Dinary Stature

    All Aware of Course That the Annual Report of the Oscar Long Ago Attained an Extraor­ Academy of Motion Picture Dinary Stature

    Academy of Motion Picture Arts and Sciences and Academy Foundation Annual Report 83/84 From the President ' m delighted to present to you We' re all aware of course that the Annual Report of the Oscar long ago attained an extraor­ Academy of Motion Picture dinary stature. One of the most pleas­ I Arts and Sciences and the urable aspects of this first year as Academy Foundation. As you will see your president has been the chance in the pages that follow, 1983-84 was I've had to see firsthand just how a year of continuing achievement. broad and how deep is the worldwide Note particularly the accomplish­ respect for our symbol and the insti­ ments of our Players Directory, our tution he represents. This summer I Visiting Artists program, our Semi­ accepted an invitation from the U.S. nars, Exhibitions, Lectures and Information Agency to represent Salutes. Statistics continue to show the Academy in a visit to five East that students, scholars, researchers, European nations. writers, critics, and filmmakers are Everywhere I went-in Belgrade, making use of our magnificent Budapest, East Berlin, Prague, Sofia, Margaret Herrick Library in ever­ Zagreb, and at Czechoslovakia's dis­ increasing numbers. As a matter of tinguished Karlovy Vary Festival- fact, finding space in which our con­ I met filmmakers who spoke warmly stantly-expanding archives can be and with obvious sincerity about what made both safe and accessible has the Academy meant to artists in their been a continuing and pressing countries. I was made aware in a concern. variety of ways by a great many peo­ We've found short-term solutions ple that our nominations history, to that problem this year; in next particularly in the Foreign Language year's report I'll detail our plans for and Animation categories, has won the establishment of the "Academy us a reputation for integrity that is Cinema Center," a project of large unmatched in the world of film.
  • 34Th Winner List

    34Th Winner List

    The 34th Annual Boston/New England Emmy® Recipients Newscast-Evening Larger Markets (1-49) Chris Roach, Executive Producer NewsCenter 5 at 11pm: May 13, 2010 WCVB Newscast-Evening Smaller Markets (50-100+) Amy Beveridge, Producer News 8 at Six - February Flooding WMTW General Assignment Report Jonathan Elias, Reporter / Producer America's Most Famous Illegal WBZ Dominick Aielli, Photojournalist Spot News Jim Altman, Reporter Bridgeport Tornado: Surviving the Storm WTIC-TV FOX CT Sharon Burke, Photographer/Editor Continuing Coverage Within 24 Hours ***TIE*** Andrew Vrees, News Director The Massacre in Mattapan WCVB John Verrilli, News Director March Floods WBZ Continuing Coverage No Time Limit Darren Perron, Reporter Mission: Afghanistan WCAX Lance MacKenzie, Photographer Investigative Report Mike Beaudet, Investigative Reporter Fox Undercover Composite WFXT Kevin Rothstein, Producer Jonathan Wells, Executive Producer Richard Ward, Photographer Jim Goff, Photographer Todd Krupa, Editor Allan DiMaio, Editor Feature News Report Light Feature Jim Altman, Reporter Band of Brothers WTIC-TV FOX CT Mike Piskorski, Photographer/Editor Feature News Report Light Series ***TIE*** Sarah French, Reporter Make A Wish Mondays WTIC Jennifer Berryman, Producer The Patients Of Boston Med WCVB Liz Brunner, Reporter News Specialty Report Arts/Entertainment Scott LaPierre, Producer/Videographer 5,000 labels for 5,000 artworks? www.boston.com-The Boston Globe News Specialty Report Business/Consumer Hank Phillippi Ryan, Reporter Consumer Composite WHDH Mary
  • NAB's Guide to Careers in Television

    NAB's Guide to Careers in Television

    NAB’s Guide to Careers in Television Second Edition by Liz Chuday TABLE OF CONTENTS Table of Contents…………………………………..……………………......... 1-3 Introduction………………………………………………………………... ......... 4 Acknowledgements…………………………………………………………....... 6 A Word About Station Ownership………………..…………… ..................…7 The General Administration Department…………………. ...................... 8-9 General Manager……………..……………….……………… ..................... 8 Station Manager……..…………………………………………….. .............. 8 Human Resources…………………………..………………........................ 8 Executive Assistant…………………………..…………………… ............... 9 Business Manager/Controller…………………………… ........................... 9 The Sales and Marketing Department………………………….............. 10-11 Director of Sales…………………..………………………….. ................... 10 General Sales Manager…………………………………………................ 10 National Sales Manager……...……………………..……......................... 10 Marketing Director or Director of Non-Traditional Revenue……….……………...................... 10 Local Sales Manager..……………………………………………. ............. 11 Account Executive..……………………….………………………............. .11 Sales Assistant..………………………….…………………………............ 11 The Traffic Department………………..…………………………................... 12 Operations Manager…………………………………………..................... 12 Traffic Manager…………………………………….………………. ............ 12 Traffic Supervisor………………………………….……………….............. 12 Traffic Assistant…………………………………………….………............. 12 Order Entry Coordinator/Log Editors………………………. .................... 12 The Research Department……………………………………….
  • Buying Compliance: Governmental Advertising and Soft Censorship in Mexico

    Buying Compliance: Governmental Advertising and Soft Censorship in Mexico

    Buying Compliance: Governmental Advertising and Soft Censorship in Mexico www.wan-ifra.org Buying Compliance: Governmental Advertising and Soft Censorship In Mexico © 2014 WAN-IFRA PUBLISHED BY: RESEARCH PARTNERS: WAN-IFRA Center for International Media Assistance 96 bis, Rue Beaubourg National Endowment for Democracy 75003 Paris, France 1025 F Street, N.W., 8th Floor www.wan-ifra.org Washington, DC 20004, USA www.cima.ned.org WAN-IFRA CEO: Vincent Peyrègne Open Society Justice Initiative 224 West 57th Street EdiTorial coordinaTOR: New York, New York 10019, USA Mariona Sanz Cortell www.opensocietyfoundations.org RESEARCHERS: Justine Dupuy (Fundar) and Ana Cristina Ruelas (Article 19) - lead researchers Antonio Martínez, Diego de la Mora, Regina Ganem and Ricardo Luevano EDITOR: Thomas R. Lansner 2 RESEARCH PARTNERS meXico: SUPPORTED BY: Fundar, Centro de Análisis e Investigación Open Society Foundations Cerrada Alberto Zamora, num. 21 www.opensocietyfoundations.org Colonia Villa Coyoacán, Del. Coyoacán C. P. 04000, México, D. F. SPecial ThanKS TO: www.fundar.org.mx Darian Pavli; Senior Attorney at Open Society Justice Initiative, for his advice on the research methodology, legal and policy questions; the interviewees and survey participants; and all col- leagues who made this research possible. ARTICLE 19, oficina para México y Centroamérica DESIGN AND PREPRESS: José Vasconcelos 131, Col. San Miguel Snezana Vukmirovic, Ivan Cosic, Plain&Hill Serbia Chapultepec Delegación Miguel Hidalgo, c.p. 11850, México D.F. © 2014 WAN-IFRA www.articulo19.org
  • Creating Images for Hollywood Classics Vicki James Yiannias

    Creating Images for Hollywood Classics Vicki James Yiannias

    Creating Images for Hollywood Classics Vicki James Yiannias From the time of silent films, the images of American cinema have reflected the environment of their time. The sounds, sites, costumes, makeup, and movements on the screen reinforce the norms of the era, but also give a taste of social changes in their early phases. Most popular attention has been focused on actors, who when influential are labeled stars, even if their talent is limited. More recently some directors also have become “bankable” as stars of their own kind. Still under-appreciated by most filmgoers are the critical behind-the scenes roles by others in the filmmaking team. Greeks who have carved some legendary spaces in their respective specialties are not widely celebrated, even by the Greek American public. Six such individuals are Jack Pierce, make-up and special effects artist; Hermes Pan, choreographer; Dean Tavoularis, production designer; and Theoni Aldredge, Patricia Field, and Mary Zophres, three extraordinary costumer designers. From Frankenstein to Mister Ed Special effects and makeup genius Jack Pierce (1889-1968) is one of the great innovators in Hollywood history. His masterly conceived monsters and creatures created for Hollywood horror classics such as Frankenstein (1931), Dracula 1931), The Mummy (1932), and Wolf Man (1941) are still terrifying, and their influence on popular culture, continues on a grand scale. Yiannis Peter Piccoulas (1889-1968) was born in Porto Cheli, Ermionida, in the Peloponnese. His father was a shepherd (likely to have been originally from the village of Valtestsi).1 In 1902, when he was just thirteen, Piccoulas left his family to come to America in search of a better life.
  • 01 Spring09.Indd

    01 Spring09.Indd

    VOLUME 5 NUMBER 2 Spring 2009 what’s inside 16 Features 16 Lost in Paradise A character-driven show with no boundaries 20 Grey Gardens Confessions of a make-up artist 24 Local 706: Diamond Jubilee & Award Presentation Excerpts from the ceremony 20 Departments 4 From the President 6 Local Business 7 Letter to The Artisan 10 Calendar of Events 11 Guild News Crafts, old friends & Emmy nominees 26 Theater News 28 Extended Family News 11 30 Last Looks 33 PRESIDENT FROM THE PRESIDENT May I sincerely say right now that I truly value and thank each and every Official Magazine of Hollywood Officer and Board member who has contributed their time serving their Local over the last three Make-up Artists & Hair Stylists. years. We’ve faced difficult hurdles that have never before been experienced in our history, and Published in the Interest of ALL the Members of Make-up Artists there will definitely be more to come. It’s just my personal opinion, but the challenges we face in & Hair Stylists I.A.T.S.E. Local 706 the next few years will take some steady hands. Now we will step into a whole new realm—the “new media” which opens a whole new classification that will enable our members to find new sources of work. It’s a brand-new entity unto itself. We need to know and honor our history, Supervising Editor but we must change with the times, and it’s vital that our own members bring fresh new ideas JEFF ANGELL to the table and speak for the newer generations.
  • Scott Essman – 2010 Resume

    Scott Essman – 2010 Resume

    Scott Essman – 2010 Resume Electronic Press Kit Producer, Writer and Publicist UNIVERSAL STUDIOS HOME ENTERTAINMENT 2002 - present (writer and publicist) Wrote all magazine articles, press releases, publicity materials, announcements, interviews, web pages and videotape content for select titles of Universal Studios new DVD releases in the science fiction, fantasy, and horror genre; served as key niche publicist for said titles; covered press junkets, special effects demonstrations, and interview sessions as lead journalist and publicist; titles included Jaws, Van Helsing, The Animated Mummy, Land of the Dead, Shaun of the Dead, Dawn of the Dead, White Noise, Seed of Chucky, Chronicles of Riddick, Van Helsing: London Assignment, Pitch Black, Slither, Dracula, Frankenstein, and seven of the “Classic Monster” re-releases, plus two different releases of Peter Jackson’s King Kong; in 2007, handled The Sci-Fi Boys’ Saturn Award campaign, plus Serenity, Flash Gordon; in 2008, handled The Mummy, Scorpion King 2, The Incredible Hulk and The Mummy: Tomb of the Dragon Emperor. Video Producer ACTUAL REALITY 2006/2007 (creator/producer) Co-created and co-produced genre reality TV show, MY SCIENCE FICTION PROJECT, currently being set up through RJ Cutler’s Actual Reality Entertainment as of Winter 2008-2009. UNIVERSAL STUDIOS HOME ENTERTAINMENT 2004 - present (producer) Created and produced promotional documentary-style videos for DVD publicity purposes for the following titles: Van Helsing, Land of the Dead, Dawn of the Dead, Seed of Chucky, and Chronicles of Riddick, Hulk. VISIONARY CINEMA/WARNER BROS. 1996 - present (writer-director-producer) Created and produced the behind-the-scenes entertainment-based documentary videos/DVDs for the following titles: Making Wolvy (1996), A Tribute to Dick Smith (1996).