2014, Vol. 9, No. 3
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The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. -
THE WRITE CHOICE by Spencer Rupert a Thesis Presented to The
THE WRITE CHOICE By Spencer Rupert A thesis presented to the Independent Studies Program of the University of Waterloo in fulfilment of the thesis requirements for the degree Bachelor of Independent Studies (BIS) Waterloo, Canada 2009 1 Table of Contents 1 Abstract...................................................................................................................................................7 2 Summary.................................................................................................................................................8 3 Introduction.............................................................................................................................................9 4 Writing the Story...................................................................................................................................11 4.1 Movies...........................................................................................................................................11 4.1.1 Writing...................................................................................................................................11 4.1.1.1 In the Beginning.............................................................................................................11 4.1.1.2 Structuring the Story......................................................................................................12 4.1.1.3 The Board.......................................................................................................................15 -
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. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Avid Customers Stand out Among 2005 Academy Award Nominees
Avid Customers Stand Out Among 2005 Academy Award Nominees TEWKSBURY, Mass.--(BUSINESS WIRE)--Feb. 1, 2005-- Creators use one or more Avid solutions on films nominated in the Best Picture, Directing, Film Editing, Sound Editing, Sound Mixing, Visual Effects, and Best Animated Feature categories Avid Technology, Inc. (NASDAQ: AVID) today announced that solutions from its Avid®, Digidesign®, and Softimage® product families were used in the creation of every film nominated in the Best Picture, Directing, Film Editing, Sound Editing, Sound Mixing, Visual Effects, and Best Animated Feature categories of the 77th Annual Academy Awards®. The widespread use of Avid's systems among films nominated for Academy Awards this year confirms the company's continuing leadership position in the digital content creation industry. "We're delighted that our products continue to be the preferred postproduction tools for the creative storytellers behind so many of this year's Academy Award nominees," said David Krall, president and chief executive officer of Avid. "Because many of our engineers and product designers are filmmakers themselves, we're able to innovate new products - and entire production workflows - that address the complex needs of the filmmaking process. Our product development scope not only includes building world-class nonlinear editing systems, but encompasses audio editing, sound design, visual effects creation, finishing, and asset management capabilities into a powerful workflow. We then make all these capabilities transparent - so our -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
295 Fall 2021
CTPR 295 Cinematic Arts Laboratory 4 Units Fall 2021 Concurrent enrollment: CTPR 294 Directing in Television, Fiction, and Documentary Silver/Section#18482 Meeting times: Producing/Cinematography: Fridays, 9:00-11:50am Editing/ Sound: Fridays, 1:00-3:50pm Producing Laboratory (SCA 214 / SCA 356) Instructor: Stephen Gibler Office Hours: by appointment SA: Kayla Sun Cinematography Laboratory (SCE STG #1) Instructor: Savannah Bloch Office Hours: by appointment SA: Luke Harris Editing Laboratory (SCA B120 / SCA 356) Instructor: Avi Glick Office Hours: by appointment SA: Alessia Crucitelli Sound Laboratory (SCA 209) Instructor: Ryan Vaughan Office Hours: by appointment SA: Kelly Osmolski Important Phone Numbers: * NO CALLS AFTER 9:00pm * SCA Labs (213) 740-3981 Help Desk (213) 8212638 Front Desk (213) 740-3981 Tony Bushman (213) 740-2470 Assistant Post Production Manager [email protected] 1 Equipment (Camera) (213) 821-0951 Equipment (Lights) (213) 740-2898 Equipment (sound) (213) 7407-7700 Joe Wallenstein (213) 740-7126 Student Prod. Office - SPO (213) 740-2895 Prod. Faculty Office (213) 740-3317 Campus Cruiser (213) 7404911 THIS SYLLABUS DOES NOT TAKE INTO ACCOUNT RESTRICTIONS OR REQUIREMENTS THAT MAY BE IN PLACE DUE TO THE CHRONA VIRUS AT THE BEGINNING OF THE FALL SEMESTER 2021. CHANGES WILL BE MADE TO INCLUDE THESE AS REQUIRED WHEN THE SEMESTER STARTS Course Structure and Schedule: CTPR 295 consists of four laboratories which, in combination, introduce Cinematic Arts Film and Television Production students to major disciplines of contemporary cinematic practice. Students will learn the basic technology, computer programs, and organizational principles of the four course disciplines that are necessary for the making of a short film. -
Download Press
I WANT YOUR LOVE USA, 71 minutes, 2011, 16x9, HD IWantYourLoveTheMovie.com LOG LINE: Jesse struggles to take responsibility for himself after a decade of treading water in freewheeling San Francisco. On his final night in the City, friends and ex-lovers gather for a going away party that promises to heighten Jesseʼs already bittersweet feelings about leaving. TEASER: http://vimeo.com/30434349 PRESS: “Intimate, sexy and unflinchingly honest, “A filmmaker of refreshing honesty, Travis I Want Your Love is a bold film with rare Mathews is a new voice giving queer insight into the uncensored lives of a cinema a much needed injection of generation of gay men.” emotional intimacy.” -- Andrew Haigh -- John Cameron Mitchell director of “Weekend” director of “Short Bus” “Travis Mathews has a kind and “I Want Your Love is an intense, intimate empathetic eye and heʼs just the kind of film with a fantastic soundtrack and new voice we need to tell our stories.” visually stunning beauty that will haunt you -- Ira Sachs long after the final scene.” director of “Keep the Lights On” -- Scott Heim author of “Mysterious Skin” KEY PRODUCTION BIOS: TRAVIS MATHEWS | WRITER, DIRECTOR, EDITOR Travis Mathews is an award-winning filmmaker whose movies focus on gay men, emotional honesty and intimacy. His films have screened internationally, in festivals, on cable television and numerous blogs including Butt Magazine. He's been enthusiastically noted as an emerging filmmaker to watch by such diverse publications as MacLife, IndieWIRE and Fleshbot. Informed with a Masters in Counseling Psychology and a background in documentary, Travis takes a thoughtful and naturalistic approach to filmmaking while maintaining a sense of humor about it all. -
The Instrument Ofchoice
The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake. -
Resume Guide
BU COM Career Services Resume A resume is a selective summary of your skills and qualifications for a position. Ultimately, you have one page to convince someone of your credentials. But resumes aren’t just summaries. A strategic resume is tailored to the employer and proves you match with the position and its requirements. List any colleges or universities you have earned or will earn degrees from. Only freshmen should include high school. Everyone else should include undergrad and grad schools. Generally, you should divide your experience into “relevant experience,” listing all school and professional experience that is relevant to the position, and “additional experience,” if you want to add experience that is not directly related to the position. You can also just write “experience” if you do not have a lot of relevant experience. All experience should be listed in reverse chronological order based on when the position ended. If you are still in the position, you must use present tense and it must be listed first in the section; additionally the end date should be listed as “present.” Internships, BUTV, Daily Free Press, AdLab, and PRLab are all great examples of experience to include on your resume. Include only the positions and experience that will prove your qualifications and strengthen your application. Write bullet points using strong action verbs in the active voice (see page 4 for a list of active verbs). Think of the context, the task involved, the action taken, and the result. Each bullet should include the impact of your work. An easy way to organize bullet-points is to think of the acronym CAR: context, action, result. -
The Anchor Newspapers
Rhode Island College Digital Commons @ RIC The Anchor Newspapers 12-13-1967 The Anchor (1967, Volume 40 Issue 11) Rhode Island College Follow this and additional works at: https://digitalcommons.ric.edu/the_anchor Recommended Citation Rhode Island College, "The Anchor (1967, Volume 40 Issue 11)" (1967). The Anchor. 524. https://digitalcommons.ric.edu/the_anchor/524 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in The Anchor by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. ESTABLISHED STMAS 1928 The ANCH 21 "FREE ACCESS TO IDEAS AND P.ULL FREEDOM OF VOL XL No. 11 RHODE ISLAND COLLEGE DECEMBER 13, 1967 Students Have Opportunity RIC·Dance Company Well Received To- Work In Washif!,gton In HighSchools Throughout TheState The Rhode island College Dance Comany completed its annual tour of several Rhode Island High Schools Friday. The host high schools included Chariho, We,;terly and East Greenwich. The ' program was varied and showed several kinds of dances beginning with the history of so cial dance - the waltz, foxtrot and cha-cha and ending with a suite of three dances choreographed .by Ed "Legs" Ortiz including the Cross fire, Skate and Sloe Gin Fizz. From a dance based on rhythm and loud music, the program ad vanced to a dance based on breath rhythm and no musical accompa niment. This was Water Study. The six dancers performing in the Senator Claiborne Pell \ shortened version of Water Study Undergraduates from the vari Program. -
Gaze Data for the Analysis of Attention in Feature Films
1 Gaze Data for the Analysis of Aention in Feature Films KATHERINE BREEDEN, Stanford University PAT HANRAHAN, Stanford University 30% 20% Convex Hull Area 10% One Face Mult. Faces Dolly Pan/Tilt Edits 0 50 100 150 200 250 300 350 400 Frame Fig. 1. Ensemble gaze behavior for one of the film clips in our data set. Top: Example frames with recorded gaze points colored by participant. Dashed boundary shows convex hull. Middle: Convex hull area varies over time. Smaller values indicate increased aentional synchrony. Boom: Colored bars indicate the presence of hand coded features, e.g. a single face (dark green) or camera motion such as pans and tilts (light blue). Film: Unforgiven (Warner Bros., 1992). Film directors are masters at controlling what we look at when we watch a lm. However, there have been few quantitative studies of how gaze responds to cinematographic conventions thought to inuence attention. We have collected and are releasing a data set designed to help investigate eye movements in response to higher level features such as faces, dialogue, camera movements, image composition, and edits. The data set, which will be released to the community, includes gaze information for 21 viewers watching 15 clips from live action 2D lms, which have been hand annotated for high level features. This work has implications for the media studies, display technology, immersive reality, and human cognition. CCS Concepts: • Computing methodologies → Perception; • Applied computing → Media arts; • Human-centered computing → Empirical studies in HCI; Additional Key Words and Phrases: Eye tracking, gaze behavior, gaze direction, psychophysics, lm studies This work was supported by Stanford’s Google Graduate Fellowship Fund and the National Science Foundation, Grant CCF-1111943.