Rob Mcgregor Recent CV DP, Operator, Steadicam Op, Underwater Operator

Total Page:16

File Type:pdf, Size:1020Kb

Rob Mcgregor Recent CV DP, Operator, Steadicam Op, Underwater Operator Rob McGregor recent CV DP, Operator, Steadicam Op, Underwater Operator Documentary / Drama Doc Forces Of Nature - Prof Brian Cox DP, BBC 1 Science, Dir Stephen Cooter. MoVI, Steadicam, Underwater, Ep 2 and 4 2016 Big Fish, BBC NHU, Underwater Camera, Steadicam, MoVI, Dir Jamie Goold 2015 How to stay young, BBC Science, DP, Dir Nat Sharman. Steadicam, MoVI 2015 Twins, BBC Science, Dir Nat Sharman. DP, Steadicam, MoVI 2015 Human Universe - DP/Operator/Steadicam/Underwater Op - Prof Brian Cox Doco - BBC Science, Directors-various NOMINATED FOR AN OPERATING AWARD FROM THE GUILD OF TELEVISION CAMERAMEN Steadicam, MoVI 2015 Oceanus - DP/Underwater Op - Doco - Nat Geo, 2014 Alien Deep - DP/Underwater Op - Doco - Nat Geo, 2013 Time Team Special, Stone Age Tsunami, - DP - Dir, Sophie Elwin-Harris 2013 Tooth For an eye - Drama Doc - DP - Walker George - Dir Stephen Walker 2012 Various BBC Horizon - Operator, Crane Op - - Director, Dave Stewart Wildlife of the UAE - Filming all kinds of wildlife, lots of hide work plus sync - Dir John Ruthven, Hidden Pictures Country File - Doco - BBC Director various Jimmy’s Christmas Dinner - Operator - Fresh One Productions - Director, Sam Keay BBC Horizon - Operator, Crane Op - - Director, Dave Stewart Break it down Murmansk - DoP - Doco - Nat Geo, Origins of Us -Drama Doc - BBC1 - Director Dave Stewart Operation Mincemeat - DP - Drama Doc - Director, Russell England BBC Double Agent, The Eddie Chapman Story’ - DP - Drama Doc - Walker George - BBC The Incredible Human Journey Operator - Directors, Dave Stewart - Doco BBC1 Orangutan Diaries DP - Doco - BBC1 Blue Planet- BBC Doc Sharks, Great Whites Great Britain - DP - Doco - BBC1 Cell +44 (0) 7974353727 email : [email protected] Rob McGregor recent CV DP, Operator, Steadicam Op, Underwater Operator Silent Roar: Searching for the snow Leopard - DP, Dir/Pro Hugh Miles. Winter seasons in Himalaya. Time Team, underwater camera various. Films and Drama Kolidascope, Feature Film, Director Rupert Jones, Steadicam, MoVI. 2016 Ellen, TV Movie, Touchpaper, Steadicam and B Cam Op, Dir Mahalia Belo. Steadicam 2016 B&B, Feature Film,Steadicam, 2nd Unit DP, Dir Joe Ahearne Steadicam, MoVI 2016 Professor Branestawm 2 - TV Movie - BBC, 2nd Unit DP, Dir Sandy Johnson Operator, Steadicam, MoVI 2015 The Royals Pilot, Season 1, Season 2 and Season 3(present)- A Cam Operator/ Steadicam/MoVI/2nd Unit DP- Privilege Productions for LIONSGATE - Show Runner/Dir Mark Schwann/Various Directors. 2013 to present The Hollow Crown II - Steadicam Op/Operator - BBC Drama - Dominic Cooke 2014 OUR GIRL - Steadicam/Cam Op - BBC Drama - DP Nick Dance - various directors 2014 THE BIBLE - A Cam Operator/Steadicam Op/2nd Unit DP 8 Episodes -10 part US Drama/ feature film - Directors- Various - EMMY NOMINATED 2012 NTSF:SD:SUV - Sit Com for US - A cam Op/Steadicam - Dir, Paul Scheer 2013 The Body Farm - Operator - Drama - BBC - Dir Philippa Lansdale Space Race - Feature Doc - Steadicam/DP - Walker George for Working Title - Dir Stephen Walker (in Production) A Perfect Murder - Steadicam - Working Title - Dir Paul Jenkins Welcome to Leather Mill - Operator - Dir, Russell England Battle of the Apemen: Battle for Earth - Operator, 2nd unit DP - Drama - Directors, Dave Stewart, Tony Mitchel - BBC1 ‘Skins’ Series 2,3,4,5 - Steadicam/2nd unit DoP, Operator - Drama - E4 Directors Various ‘Skins’ Series 4,5 Webisodes - DP - Director, Jack Clough - E4 - Sarah Jane - Series 3 - Drama - BBC Cell +44 (0) 7974353727 email : [email protected] Rob McGregor recent CV DP, Operator, Steadicam Op, Underwater Operator Space Odyssey - Voyage to the planets - Operator - BBC & Discovery, Joe Ahearne Thursday the 12th, Underwater camera. Dir Charles Beeson Commercials/Corporate Jaguar - DP - Commercial - FP Creative - Dir, Rob Coolen Jaguar - DP - Commercial - Inc Word - Dir, Jeremy Hart WildAid Comercial - DP, steadicam - Dir Matt Huntley - Outsider East coast to West coast US - DP, steadicam - Inc Word - Dir Jeremy Hart Bentley - DP - Commercial - Inc Word - Dir, Jeremy Hart Jaguar - DP - Commercial - Inc Word - Dir, Jeremy Hart Bentley - Commercial - Inc Word - Dir, Jeremy Hart DP - Commercial - Jaguar - Inc Word - Dir, Jeremy Hart Gillette - DP - Commercial - Rebel/Outsider Great Ormond Street Hospital - DP - Commercial - Dir Russell England Bodyform - DP - Commercial - Rubber Republic Rock wool Insulation - DP - Viral - Director, Dan Wheldon SOHO Europe cups - Viral - Director, Nick Lowicz Desperate Scouse Wives - DP/Operator - Drama -Directors, Steen Agro, Dinkesh Miesuria Street Magic - Techno Crane Operator, Operator - Director, AndyDevonshire Merino Wool Campaign - DP - Spring Studios - Director Crystal Danse Macabre - DP - Promo - Owen Franklin - Dir Russelllll England McLaren Performance Cars - DP, Steadicam - Comercial - Dir Russell England HSBC Viral - DP - TV UK - Director, Jamie Langton McLaren - DP - F1 - Viral 2011 - Director, Russell England Guess the Relative - Operator -Dragonfly - Dir, Emma Peach, Berry English Cell +44 (0) 7974353727 email : [email protected] Rob McGregor recent CV DP, Operator, Steadicam Op, Underwater Operator KIT Steadicam MK-V Nexus For all camera rigs + Giros and car mount, accessories galore AR Omega Rig, attaches to steadicam, allows moves from high to low, MoVI M10 + M15, with lots of accessories including Exoskeleton and geared head control/ MiMIC control Full set of primes, plus other lenses Large range of Lighting, Time Lapse enabled Cine slider, 5’ and 3’ Cine saddle Geared Head Light weight crane, also can take MoVI 2 X Wireless Follow focus 3x axis 3 x wireless video senders Equipment/Crew Van x 2, one transporter, one large sprinter. Lots lots more, just ask. Additional Qualifications:- HSE Part 4 Diver - 27years experience diving9started when i was 11!), with current Medical. Steadicam Operator trained at Optical Support with 8 years solid experience. Irata - climber to high level. Current ‘I’ Visa passports x2 up to date Bristol Base, London Base. Cell +44 (0) 7974353727 email : [email protected].
Recommended publications
  • Duties of a Cinematographer in Creating a Film
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills.
    [Show full text]
  • The Underrepresentation of African Americans and the Role of Casting
    Grand Valley State University ScholarWorks@GVSU Undergraduate Research School of Communications 1-17-2017 The ndeU rrepresentation of African Americans and the Role of Casting Directors Chantal Suhling Grand Valley State University, [email protected] Follow this and additional works at: http://scholarworks.gvsu.edu/com_undergrad Part of the Film and Media Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Suhling, Chantal, "The ndeU rrepresentation of African Americans and the Role of Casting Directors" (2017). Undergraduate Research. 1. http://scholarworks.gvsu.edu/com_undergrad/1 This Open Access is brought to you for free and open access by the School of Communications at ScholarWorks@GVSU. It has been accepted for inclusion in Undergraduate Research by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Running head: AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 1 The Underrepresentation of African Americans in Hollywood and the Role of Casting Directors Chantal Suhling Grand Valley State University AFRICAN AMERICANS, CASTING DIRECTORS AND HOLLYWOOD 2 Abstract Films are cultural products, which reflect the existing and often underlying ideologies in a culture. In the American culture the two dominant ideologies are white normativity and patriarchy, which reinforce historical ideas, beliefs, and stereotypes about minorities. These ideologies are reflected in media. With the Oscars right around the corner, the
    [Show full text]
  • The Legality of and Shift in Racial Preferences Within Casting Practices
    William & Mary Journal of Race, Gender, and Social Justice Volume 26 (2019-2020) Issue 1 First Amendment: Marketplace Morass: Free Speech Jurisprudence and Its Interactions Article 6 with Social Justice November 2019 Who Tells Your Story: The Legality of and Shift in Racial Preferences Within Casting Practices Nicole Ligon Follow this and additional works at: https://scholarship.law.wm.edu/wmjowl Part of the First Amendment Commons, Labor and Employment Law Commons, and the Law and Race Commons Repository Citation Nicole Ligon, Who Tells Your Story: The Legality of and Shift in Racial Preferences Within Casting Practices, 26 Wm. & Mary J. Women & L. 135 (2019), https://scholarship.law.wm.edu/ wmjowl/vol26/iss1/6 Copyright c 2020 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmjowl WHO TELLS YOUR STORY: THE LEGALITY OF AND SHIFT IN RACIAL PREFERENCES WITHIN CASTING PRACTICES NICOLE LIGON* INTRODUCTION I. BACKGROUND OF HAMILTON II. TITLE VII AND BFOQ AS APPLIED TO CASTING CALLS III. THE FIRST AMENDMENT AS APPLIED TO HIRING DECISIONS IV. HOW DO PROTECTIONS FOR RACE-BASED CASTING APPLY WHERE CASTING GRANTS PREFERENCE TO WHITE ACTORS AND DISFAVORS MINORITIES? V. ARGUMENTS IN FAVOR OF SUBJECTING CASTING CALLS AND CASTING DECISIONS THAT DISCRIMINATE AGAINST MINORITIES TO LEGAL LIABILITY A. Equity B. Meritocracy VI. TACTICS OUTSIDE THE SCOPE OF LAW REFORM CAN BE MORE EFFECTIVE IN INFLUENCING CASTING PRACTICES A. The Creative Community, Especially Screenwriters, Has the Power to Change Casting Practices B. Audiences Can Help Influence Casting Practices C. Public Recognition May Help Encourage More Equitable Casting Opportunities CONCLUDING THOUGHTS INTRODUCTION When a 2016 casting call1 for the Broadway and touring musical productions of Hamilton specifically sought “non-white men and women ages 20s to 30s,”2 concerns arose regarding its legality.
    [Show full text]
  • Working with Actors | Cilect 1 Sponsors
    WORKING WITH ACTORS | CILECT 1 SPONSORS CONTENT Monday 16 November Many thanks to all our sponsors and supporters Conference Registration 6 Tuesday 17 November Keynote Addresses 8 Understanding Acting 12 Workshop 1 16 Workshop 2 18 Workshop 3 20 Workshop 4 22 CILECT Teaching Award 2015 Masterclass 1 24 HFF Tour Presentation 26 Wednesday 18 November Parallel Partner Presentations ADOBE 28 Parallel Partner Presentations ARRI EDC-16 30 Directing Acting 32 Workshop 5 36 Workshop 6 38 Workshop 7 40 Workshop 8 42 CILECT Teaching Award 2015 Masterclass 2 44 CILECT Prize 2015 46 Thursday 19 November CILECT Regional Associations Meetings 50 Perfecting Acting 52 Workshop 9 56 Closing Plenary Discussion 58 CILECT Teaching Award 2015 Masterclass 3 60 ARRI / OSRAM Presentation 62 Friday 20 November Leisure Time Options 64 Addresses 66 2 CILECT | WORKING WITH ACTORS WORKING WITH ACTORS | CILECT 3 Conference Schedule MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY 16 November 2015 17 November 2015 18 November 2015 19 November 2015 20 November 2015 KEYNOTE SPEAKERS PARALLEL PARTNER PRESENTATIONS Introduced by Stanislav Semerdjiev ADOBE CILECT Regional Associations 09.00-10.30 Bettina Reitz – President HFF, Germany Bill Roberts & Michael O’Neill Parallel Meetings Maria Dora Mourão – President CILECT ARRI EDC-16 Andreas Gruber – HFF, Germany Markus Dürr & Peter C. Slansky 10.30-11.00 Coffee Break Coffee Break Coffee Break UNDERSTANDING ACTING DIRECTING ACTING PERFECTING ACTING Presentations & Plenary Discussion Presentations & Plenary Discussion Presentations
    [Show full text]
  • FILM ASSOCIATE DIRECTOR At-Large Programmer Wisconsin Union Directorate
    FILM ASSOCIATE DIRECTOR At-Large Programmer Wisconsin Union Directorate Accountability: Union Council Report To: WUD Film Director ​ ​ Commitment: Average 8-12 hours weekly Term of Office: May 2020 – May 2021 ​ ​ Monetary Compensation: $30/month Wiscard stipend ​ General Description: The Film Committee is dedicated to the presentation of diverse, challenging programming as well as ​ educational and entertaining films to the University of Wisconsin campus community. The committee also serves as a learning experience for its members regarding the film industry, local film opportunities and leadership roles. The Film Committee researches, plans, coordinates, publicizes and manages up to seven nights of programming a week in the Marquee. The Film Committee also programs an outdoor blockbuster film series during the summer semester. In addition, the Film Committee may offer other special film events, free campus “sneak previews” of major studio releases, the Wisconsin Film Festival, special film series and a variety of other film programs. Associate Director Duties: 1. Aid and oversee WUD Film Committee volunteers in searching for challenging, out of the box programming and oversee volunteers in the programming buckets of HollyWUD (current and classic Hollywood blockbusters), Alternative (independent and documentary films), Marquee After Dark (cult/late night films), International (classic and contemporary international cinema), and special programming. 2. Attend mandatory weekly Film Committee Leadership Team and Film Committee meetings and hold general office ​ ​ hours. 3. Facilitate and oversee weekly subcommittee meeting(s). 4. Administer programming with a comprehensive understanding of fiscal responsibility. Provide overall direction for content and promotion of the program, with assistance from committee members. Offer a presentation of diversity, innovation, and quality in film exhibition.
    [Show full text]
  • Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
    [Show full text]
  • From the Camera Obscura to Video Assist Author(S): Jean-Pierre Geuens Source: Film Quarterly, Vol
    Through the Looking Glasses: From the Camera Obscura to Video Assist Author(s): Jean-Pierre Geuens Source: Film Quarterly, Vol. 49, No. 3 (Spring, 1996), pp. 16-26 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1213467 . Accessed: 15/06/2011 09:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org Through Jean-Pierre Geuens the Looking Glasses From the Camera Obscura to Video Assist The oriiginal video assist apparatus put tog;ether by Bruce Hill in 1970 The studio is finally quiet.
    [Show full text]
  • Film Director Agreement (Fiction Film)
    FILM DIRECTOR AGREEMENT (FICTION FILM) The Parties to this Agreement are: ___________________ , personal identity code _________, address _____________________________ (hereinafter the ”Director”); and ___________________ , company identity code _________, address _____________________________ (hereinafter the ”Producer”). 1. OBJECT OF THE AGREEMENT 1.1 The Producer will employ the Director for making the film _____________________ (hereinafter the ”Film”) in accordance with the terms and conditions agreed in this Film Director Agreement (hereinafter the ”Agree- ment”). 1.2 The Film will be filmed in ________ format, and its screen time is fixed at ______ minutes. 1.3 The target age limit for the Film shall be ______. 1.4 The production budget for the Film is ___________________ euros. 1.5 The Film shall be based on: a) ________ʼs literary or other work entitled ”______________”. The film rights in respect of the work have been transferred under a separate agreement between the Producer and the holder of the rights. b) Original idea by _________ The manuscript for the Film has been made by: _________________________. The film rights in respect of the manuscript have been transferred under a sepa- rate agreement between the Producer and the holder of the rights. 2. THE DIRECTORʼS JOB DESCRIPTION 2.1 The employment of the Director begins / has begun on ___.___.20___. 1 The Directorʼs work shall be conducted as follows: Preliminary planning between ________ - ________, in total __ days; Filming period between ________ - ________, in total __ days; Post-production work between ________ - ________, in total __ days. The Directorʼs employment will end once the Director has inspected and ap- proved the final form of the Film.
    [Show full text]
  • Dga Independent Filmmakers
    Ti West directing In a Valley of Violence INDEPENDENTDGA FILMMAKERS Nicole Holofcener directing Enough Said Dee Rees directing Mudbound It’s YOUR film. The Directors Guild of America is a powerful force that can help you realize your Rodrigo Garcia directing Last Days in the Desert vision regardless of budget. Find out what the DGA is all about. Ryan Coogler directing Creed GREETINGS FROM DGA PRESIDENT THOMAS SCHLAMME Dear Filmmaker: What is independent filmmaking today? Traditionally, independent We support our members working in independent film by films are those that are produced outside of the studio system. More protecting their rights, as well as providing them with the realistically, in the current landscape, with streaming services, day and flexibility to do projects they are passionate about. The Guild’s date releases and ever-changing distribution models, independent has Independent Directors Committees are a concrete embodiment taken on a feeling of otherness – something not mainstream. of this commitment. These Committees – one based in New York and the other based in Los Angeles – host regular gatherings for And here you are. You’ve made a movie that caught attention and it’s independent and low-budget directors. The Committees have playing at a festival or maybe you’ve been lucky enough to secure a also established the very successful Director’s Finder Screening distribution deal. As a director, you may think your responsibilities end Series, which regularly showcases unreleased independent films once the film is completed. Ideally, you’ve handled every creative choice directed by DGA members for an audience of independent during pre-production, through production and into post.
    [Show full text]
  • Female Directors and Screenwriters in European Film and Audiovisual Fiction Production
    Female directors and screenwriters in European film and audiovisual fiction production Gilles Fontaine Patrizia Simone July 2020 A publication of the European Audiovisual Observatory SCOPE AND METHODOLOGY ScopeScope Gender of directors and screenwriters of: Audiovisual fiction episodes European* feature films produced in the EU (including the UK) produced between 2015 and 2018 with a first release between 2015 and and theatrically released 2018 in at least one European country on TV or on SVOD services between 2015 and 2019 (excluding series with more than 52 episodes per season) * «European» here refers to the Member States of the Council of Europe. ResearchResearch questionsquestions This report addresses the presence of women among directors and screenwriters of films and audiovisual fiction under three different angles and indicators: A B C What is the share of How are women What is the weighted works directed/written represented among share of women in the by a majority of female active directors and direction/writing of professionals screenwriters? works? (female-driven teams)? Definitions and sourcesResearch : European questions feature films 1/3 The analysis presented in this section draws on data from the European Audiovisual Observatory’s LUMIERE database, which collates annual admissions to theatrically released films from a wide variety of sources, including national film agencies and statistics offices. The study sample includes European feature films produced between 2015 and 2018 and released in cinemas in Europe between 2018 and 2019. The dataset only includes films for which it was possible to track at least one commercial theatrical screening in one of the European markets covered in the LUMIERE database.
    [Show full text]
  • So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
    So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses.
    [Show full text]
  • The Director's Method in Contemporary Visual Effects Film
    The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter.
    [Show full text]