Video Production Putting Theory Into Practice
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In the Blink of an Eye Why
Why Do Cuts Work? ell, the fact is that Apocalypse Now, as well as W every other theatrical film (except perhaps Hitchcock's Rope 3 ), is made up of many different pieces of film joined together into a mosaic of im ages. The mysterious part of it, though, is that the joining of those pieces-the "cut" in American termi nology 4-actually does seem to work, even though it represents a total and instantaneous displacement of one field of vision with another, a displacement that sometimes also entails a jump forward or backward in time as well as space. It works; but it could easily have been otherwise, since nothing in our day-to-day experience seems to prepare us for such a thing. Instead, from the moment we get up in the morning until we close our eyes at night, the visual reality we perceive is a continuous 3 A film composed of only ten shots, each ten minutes long, invis ibly joined together, so that the impression is of a complete lack of editing. 4 I was aware, talking to an Australian audience, of the bias inherent in our respective languages. In the States, film is "cut," which puts the emphasis on separation. In Australia (and in Great Britain), film is "joined," with the emphasis on bringing together. 5 6 IN THE BLINK OF AN EYE WHY stream of linked images: In fact, for millions of years context: The displacement of tl tens, hundreds of millions of years-life on Earth has motion nor change of context, ; experienced the world this way. -
Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned. -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Prince 20Ten Complete European Summer Tour Recordings Vol
Prince 20Ten Complete European Summer Tour Recordings Vol. 10 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul / Pop Album: 20Ten Complete European Summer Tour Recordings Vol. 10 Country: Germany MP3 version RAR size: 1482 mb FLAC version RAR size: 1272 mb WMA version RAR size: 1410 mb Rating: 4.3 Votes: 916 Other Formats: VOC WAV AUD MOD TTA AAC DXD Tracklist Yas Arena, Yas Island, Abu Dhabi, United Arab Emirates, November 14, 2010 1-1 Let's Go Crazy 1-2 Delirious 1-3 Let's Go Crazy (Reprise) 1-4 1999 1-5 Little Red Corvette 1-6 Controversy / Oh Abu Dhabi (Chant) 1-7 Sexy Dancer / Le Freak 1-8 Controversy (Coda) / Housequake (Chant) 1-9 Angel 1-10 Nothing Compares 2 U 1-11 Uptown 1-12 Raspberry Beret 1-13 Cream (Includes For Love) 1-14 U Got The Look 1-15 Shhh 1-16 Love...Thy Will Be Done 1-17 Keyboard Interlude 1-18 Purple Rain 2-1 Kiss 2-2 Prince And The Girls Pick Some Dancers 2-3 The Bird 2-4 Jungle Love 2-5 A Love Bizarre (Aborted) 2-6 A Love Bizarre (Nicole Scherzinger On Co-Lead Vocals) 2-7 Dance (Disco Heat) 2-8 Baby I'm A Star 2-9 Sometimes It Snows In April 2-10 Peach Soundcheck, Gelredome, Arnhem, November 18, 2010 2-11 Scandalous / The Beautiful Ones (Instrumental Takes) 2-12 The Beautiful Ones (Various Instrumental Takes) 2-13 Nothing Compares 2 U (3 Instrumental Takes) 2-14 Car Wash (Instrumental Groove) / Controversy (Instrumental) 2-15 Hot Thing (Extended Jam, Overmodulated) 2-16 Hot Thing (Extended Jam, Clean Part) 2-17 Flashlight (Instrumental) 2-18 Insatiable 2-19 Insatiable / If I Was Your Girlfriend -
Senate Bill Text for SB0710
1 AN ACT 2 RELATING TO THE EXPENDITURE OF PUBLIC MONEY; PROVIDING FOR 3 CAPITAL EXPENDITURES; MAKING GENERAL FUND APPROPRIATIONS; 4 PROVIDING FOR OPERATING EXPENSES AND OTHER EXPENDITURES; 5 DECLARING AN EMERGENCY. 6 7 BE IT ENACTED BY THE LEGISLATURE OF THE STATE OF NEW MEXICO: 8 Section 1. GENERAL FUND APPROPRIATIONS--LIMITATIONS-- 9 REVERSIONS.-- 10 A. Except as otherwise provided in this section or 11 another section of this act, the unexpended balance of an 12 appropriation made in this act from the general fund shall 13 revert to the originating fund as follows: 14 (1) for projects for which appropriations 15 were made to match federal grants, six months after 16 completion of the project; 17 (2) for projects for which appropriations 18 were made to purchase vehicles, emergency vehicles or other 19 vehicles that require special equipment, heavy equipment, 20 educational technology or equipment or furniture that is not 21 related to a more inclusive construction or renovation 22 project, at the end of the fiscal year two years following 23 the fiscal year in which the appropriation was made for the 24 purchase; and 25 (3) for all other projects for which SB 710 Page 1 1 appropriations were made, within six months of completion of 2 the project, but no later than the end of fiscal year 2011. 3 B. Upon certification by an agency that money from 4 the general fund is needed for a purpose specified in this 5 act, the secretary of finance and administration shall 6 disburse such amount of the appropriation for that project as 7 is necessary to meet that need. -
DIGITAL Filmmaking an Introduction Pete Shaner
DIGITAL FILMMAKING An Introduction LICENSE, DISCLAIMER OF LIABILITY, AND LIMITED WARRANTY By purchasing or using this book (the “Work”), you agree that this license grants permission to use the contents contained herein, but does not give you the right of ownership to any of the textual content in the book or ownership to any of the information or products contained in it. This license does not permit uploading of the Work onto the Internet or on a network (of any kind) without the written consent of the Publisher. Duplication or dissemination of any text, code, simulations, images, etc. contained herein is limited to and subject to licensing terms for the respective products, and permission must be obtained from the Publisher or the owner of the content, etc., in order to reproduce or network any portion of the textual material (in any media) that is contained in the Work. MERCURY LEARNING AND INFORMATION (“MLI” or “the Publisher”) and anyone involved in the creation, writing, or production of the companion disc, accompanying algorithms, code, or computer programs (“the software”), and any accompanying Web site or software of the Work, cannot and do not warrant the performance or results that might be obtained by using the contents of the Work. The author, developers, and the Publisher have used their best efforts to insure the accuracy and functionality of the textual material and/or programs contained in this package; we, however, make no warranty of any kind, express or implied, regarding the performance of these contents or programs. The Work is sold “as is” without warranty (except for defective materials used in manufacturing the book or due to faulty workmanship). -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child. -
Evening Filmmaking Workshop
FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor. -
TFM 327 / 627 Syllabus V2.0
TFM 327 / 627 Syllabus v2.0 TFM 327 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill. -
A Toolkit for Teachers and Schools 2Nd Edition PREFACE
GENDER RESPONSIVE PEDAGOGY A TOOLKIT FOR TEACHERS AND SCHOOLS 2ND EDITION PREFACE The quality of teaching across all levels of education has a significant impact on academic access, retention and performance of girls and boys in Africa. This includes the systematic professionalization of both teaching and non-teaching roles within education, by improving teacher training and support for teachers. Notably, many teachers in sub-Saharan Africa, conditioned by patriarchal values in their communities, employ teaching methods that are not conducive for equal participation of both girls and boys. Neither do these methods take into account the individual needs of learners, especially girls. Equipping teachers with knowledge, skills and attitudes to enable them to respond adequately to the learning needs of girls and boys through using gen- der-aware classroom processes and practices ultimately improves learning outcomes and enhances gender sensitivity in the delivery of education services. The Forum for African Women Educationalists (FAWE) in 2005 developed the Gender-Responsive Pedagogy (GRP) model to address the quality of teaching in African schools. The GRP model trains teachers to be more gender aware and equips them with the skills to understand and address the specific learning needs of both sexes. It develops teaching practices that engender equal treatment and participation of girls and boys in the classroom and in the wider school community. It advocates for classroom practices that ensure equal par- ticipation of girls and boys, including a classroom environment that encourages both to thrive. Teachers are trained in the design and use of gender-responsive lesson plans, classroom interaction, classroom set-up, language use in the classroom, teaching and learning materials, management of sexual maturation, strategies to eliminate sexual harassment, gender-responsive school management systems, and monitoring and eval- uation. -
Film Terminology
Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen. -
Costs in a Film's Production Process
European Research Studies Journal Volume XXIV, Issue 2B, 2021 pp. 1069-1080 Costs in a Film’s Production Process Submitted 26/03/20, 1st revision 21/04/20, 2nd revision 23/05/20, accepted 30/06/21 Damian Łazarczyk1 Abstract: Purpose: Film production is associated with incurring costs. This article aims to analyze the production process of a feature film through the prism of incurred production costs. The indi- rect aim is to answer the question: What is the structure of the set of costs in the production process of an audiovisual work? Design/Methodology/Approach: The study concerns the production costs of film work based on the cost philosophy of the Polish Film Institute and American solutions. The study uses the descriptive and comparative analysis method of various aspects of film production; the deduc- tive-inductive reasoning method; the costing method; the logical analysis method based on the literature on film production organization and accounting; the qualitative method in the form of unstructured face-to-face interviews with film producers con-ducted at production courses at the L. Schiller National Higher School of Film, Television, and Theatre in Łódź. Findings: The amount of cost of a film project is determined by the film script. The structure of the set of costs in the different stages of the film production process in the world is similar. The fees are an essential item in the cost of a feature film. The production organization crite- rion and the time criterion shape the film production costs. Practical Implications: Efficient organization of the film production process affects the cost of ownership of film work.