Reframing the Director: Distributed Creativity in Filmmaking Practice
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Dance Design & Production Drama Filmmaking Music
Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A. -
Filmmaking High School 1AB High School
Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts. -
In ACTING for FILM
Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location. -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners. -
Dr. Katie Bird Curriculum Vitae, Sept 2019
Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no. -
A Video-Based Intervention for Developing Social Skills in Children with Autism Spectrum Disorder
Filmmaking: A Video-Based Intervention for Developing Social Skills in Children With Autism Spectrum Disorder Pamela LePage and Susan Courey San Francisco State University San Francisco, California Video production can be easily used as a way to develop social skills in older children with higher-level autism and Asperger syndrome. The program described in this article is an inclusive program that employs a reverse inclusion strategy to teach social skills to children and adolescents with autism utilizing filmmaking. We discuss some of the social challenges faced by these children, the importance of addressing social skills, the program that we implement for developing social skills in children on the spectrum, and our experiences and observations with this program. We provide strategies that should be considered during filmmaking to help children on the spectrum develop social skills in integrated settings, share our perspectives of filmmaking, and our observations of the impact of filmmaking groups on learning. Keywords: autism, autism spectrum disorders, Asperger syndrome, filmmaking, social skills development, social skills programs, video modeling Filmmaking is an artistic way of helping children on the autism spectrum develop social skills. In this article, we describe how we use filmmaking as a reverse inclusion strategy to teach social skills to children and adolescents with autism. We start by discussing the social challenges faced by children and adolescents with autism, the importance of addressing social skills, and some of the barriers we faced as we addressed social skill differences in the design and implementation of our center’s program, including the transfer of social skills and recruitment of typical peers. -
3. Create a Storyboard and a Shot List
mini filmmaking guides pre- production 3. CREATE A STORYBOARD AND A SHOT LIST To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) 1. ASSIGN PRODUCTION ROLES 2. SCOUT FOR LOCATIONS 3. CREATE A STORYBOARD AND A SHOT LIST 4. SOURCE COSTUMES, MAKE-UP & PROPS PRODUCTION (5 guides) POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRE PRODUCTION STORYBOARD AND SHOT LIST What is a storyboard? A storyboard is a visual representation of a whole film. It allows filmmakers to plan and see how the finished film will look on screen. It is a series of drawings which either shows each scene from your film or, for more detail, each shot. By planning your shots in advance you can help minimise mistakes. You can identify any shots that might not work and take them out before you pick up the camera. A storyboard not only illustrates the director’s vision for his/her film, it is also a useful tool for the camera operator and editor. It helps them understand exactly how shots should be framed and their correct order. Storyboard structure There are a variety of ways of storyboarding your film: Scene by scene If you want to just draw each scene, you can create an accompanying shot list detailing the camera shots and movements you’ll use. A shot list is useful because it lists the camera shots in order so you can tick them off as you film. This helps ensure that no shots are missed out. -
The Roles of the Film Production Team Did You Know That Student
The Roles of the Film Production Team Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. BY JACLYN BELL Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. They began by working with others on a production team. They also knew that in order to understand film as an art form, they had to consider the jobs of the numerous individuals who work together to make the film a reality. If you are an educator and filming in the classroom, consider teams of no more than 5 students. All the roles listed below can be shared by multiple students, thus making the learning all the more well rounded. Or, if you are making a film on your own, consider how you can combine the following roles throughout the filmmaking process, and think about who can assist you when you need help. Producer This person is essentially the group leader and is responsible for managing the production from start to finish. The producer develops the proJect from the initial idea, makes sure the script is finalized, arranges the financing and manages the production team that makes the film. The producer also coordinates the filmmaking process to ensure that everyone involved in the proJect is working on schedule and on budget. Without the producer at the helm, films do not get made. Director The director is primarily responsible for overseeing the shooting and assembly of a film. -
UNIT-II Pre and Post
UNIT-II Pre and post - production planning - functions, duties and responsibilities of the crew members. Art direction - location - floor management - out-doors and indoors - lighting - management of live shows / live telecast - sports coverage etc. PRE AND POST - PRODUCTION PLANNING The Production Process The production process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of production are: Pre-production: Planning, scripting & storyboarding, etc. Production: The actual shooting/recording. Post-production: Everything between production and creating the final master copy. PRE-PRODUCTION Pre-production is a fairly loose term which refers to the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation. For a small video company, pre-production may refer to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc. For feature films, pre-production is more specific and only begins when other milestones have been met such as financing, screenplay, casting and major staffing. In this case pre-production includes: Location scouting Prop and wardrobe identification and preparation Special effects identification and preparation Production schedule Set construction Script-locking (semi-finalisation of the script) Script read-through with cast, director and other interested parties STAGES OF PRE-PRODUCTION Finalize a Shooting Script While movies are magical, they don‟t come out of thin air. -
Film Crew Film Crew
FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process. -
Smartphone Filmmaking
SMARTPHONE FILMMAKING Dylan Shields, Assistant Professor, Cinema/TV Los Angeles City College [email protected] or [email protected] “Film will only become an art when its materials are as inexpensive as pencil and paper.” - Jean Cocteau The ARRI ALEXA SXT Studio Rental Rates: $2,800/daily $8,400/weekly Not including lenses, add- ons and accessories Source: Radiant Images • Super 35mm format; maximum recordable resolution is bigger than traditional 65mm film • Frame rates up to 120 fps; latitude of 14 stops • Cinematographers say the tonal range, color space and latitude exceed the capabilities of film Anamorphic film format – Lawrence of Arabia Anamorphic film format – Rebel Without a Cause Anamorphic film format – The Wild Bunch Anamorphic film format – Manhattan Anamorphic Format / Cinemascope Shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio The Robe (1953) was the first feature film released that was filmed with an anamorphic lens. How can a student achieve this? + Apple iPhone Moondog Labs Anamorphic Adapter $175 Tangerine (2015) – shot on iPhone 5s with the Moondog Lab Anamorphic Lens Adapter Sound was recorded separately and synced in post The Steadicam Smoothee Stabilizer Lightweight, compact & versatile $149 FILMic Pro – the ‘Gold Standard’ App for filmmaking • Full manual control over: • Focus • Exposure • ISO • Shutter • Speed • Tint • Color temperature • Audio meters • Stereo Mic Support • Supports all major aspect ratios $14.99