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Mels Resume:Update2020
Melissa Street Makeup Artist Film/Television/Theater/Live Events cell: (858) 344-7201 email: [email protected] FILM: 2020 MAKEUP DEPARTMENT HEAD - GIGI - Director: Drew Sackheim. 2018 MAKEUP ARTIST - TOP GUN MAVERICK - PARAMOUNT - Director: Joseph Kosinski - Starring: Tom Cruise, Jennifer Connelly, Jon Hamm, Val Kilmer, Miles Teller. 2016 MAKEUP DEPARTMENT HEAD - THE RIDE - 100 ACRE FILMS - SHORT FILM - Director: Eric Addison 2014 MAKEUP DEPARTMENT HEAD - WALTER - ZERO GRAVITY Director: Anna Mastro - Starring: Andrew J. West, Virginia Madsen, William H. Macy, Leven Rambin, Peter Facinelli, Neve Campbell, Brian White, Jim Gaffigan, Justin Kirk, Milo Ventimiglia. Personal artist to: Virginia Madsen, William H. Macy, Andrew J. West, Peter Facinelli, Neve Campbell, Brian White. 2013 MAKEUP DEPARTMENT HEAD - SUPER ATHLETE - WHITE NIGHT PRODUC- TIONS Director: John Comrie - Starring: Tony Sirico, Christopher Lloyd, Faran Tahir, Cameron Rodriguez, Larry Van- Buren Jr. Personal artist to: Tony Sirico, Christopher Lloyd, Faran Tahir. 2011 KEY MAKEUP ARTIST - WHEN YOU FIND ME - SHORT FILM - PROJECT IMAG- IN8TION/FREESTYLE Director: Bryce Dallas-Howard - Starring: Marianna Palka, Erin Way, Jacy King, Karley Scott Collins, Devon Woods, Zachary James Rukavina. 2010 MAKEUP DEPARTMENT HEAD - THE HEIRESS LETHAL - SHORT FILM - EYE- FULL STUDIOS Director: Michael Brueggemeyer - Starring: Merrick McCartha, Cristyn Chandler, Ron Christopher Jones, Theresa Layne. 2003 MAKEUP DEPARTMENT HEAD - CARROT TOP ROCKS LAS VEGAS - DELTA EN- TERTAINMENT Director: Steve Hanft - Starring: Scott “Carrot Top” Thompson, Penn Jillette, Teller. 1986 UNCREDITED MAKEUP ASSISTANT - INVADERS FROM MARS - CANNON PIC- TURES Director: Tobe Hooper - Starring: Karen Black, Hunter Carson, Timothy Bottoms, James Karen, Laraine Newman. Makeup Assistant to Stan Winston F/X lab team. -
ASC History Timeline 1919-2019
American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC. -
Creature Designers- the Frankenstein Complex Press Release.Indd
31 Southampton Row, London WC1B 5HJ Tel: 0203 585 1396 Web: fetch.fm PRESS RELEASE Creature Designers: The Frankenstein Complex RELEASE INFORMATION Distributor Studiocanal “A wealth of pure ________________________________________________ Certifi cate 12 craftsmanship and magic” ________________________________________________ Release date 3rd October, 2016 Ain’t It Cool ________________________________________________ Extras Soundtrack / Designing On DVD from Monday 3rd Oct. 2016. the Opening Credits / A conversation with John Fast sell: Landis & Joe Dante / A conversation with Steve Like modern Frankensteins, special effects wizards create Johnson & John Vulich / life out of raw material, art and complex machinery, from Stills Gallery / Guillermo slavering werewolves to robots and zombies! Del Toro Masterclass This fascinating documentary, looking at the visionaries KEY TALENT INFORMATION responsible for some of cinema’s most fearsome and thrilling onscreen monsters, from King Kong climbing the Empire Director Gilles Penso / State through to the astonishing trickery of Terminator 2, is a Alexandre Poncet treat for creature feature fans and fi lm afi cionados alike. CONTACT/ORDER MEDIA Key talent: Thomas Hewson - [email protected] Rick Baker (Oscar-winning make up genius, An American Werewolf in London) Joe Dante (Director, Gremlin, The ‘Burbs) Guillermo del Toro (Director, Hellboy, Pacifi c Rim, Pan’s Labyrinth) Greg Nicotero (Special effects master, From Dusk Till Dawn, The Walking Dead, Kill Bill, Evil Dead 2) Steve Johnson (Creature designer, The Abyss) Gilles Penso/Alexandre Poncet (Directors, Ray Harryhausen: Special Effects Titan) Synopsis: From King Kong to Avatar, from Star Wars to Lord of the Rings, movie creatures have never been as popular as they are today! Yet the art of creating monsters for the big screen is as old as cinema itself.. -
SFU Thesis Template Files
“To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes by Brett Pardy B.A., The University of the Fraser Valley, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art, and Technology Brett Pardy 2016 SIMON FRASER UNIVERSITY Summer 2016 Approval Name: Brett Pardy Degree: Master of Arts Title: “To Fight the Battles We Never Could”: The Militarization of Marvel’s Cinematic Superheroes Examining Committee: Chair: Frederik Lesage Assistant Professor Zoë Druick Senior Supervisor Associate Professor Adel Iskander Supervisor Assistant Professor Michael Ma External Examiner Faculty Member Department of Criminology Kwantlen Polytechnic University Date Defended/Approved: June 16, 2016 ii Abstract The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that a hegemonic American model of militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2012), and demonstrate the significant reorientation of the film franchise towards the American military’s “War on Terror”. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment” discursive formation was it finally successful. -
Artifice Specifications As Expressive Means of the Modern Cinematography
DOI https://doi.org/10.36059/978-966-397-157-5/86-100 ARTIFICE SPECIFICATIONS AS EXPRESSIVE MEANS OF THE MODERN CINEMATOGRAPHY Zhukovin O. V. INTRODUCTION Digital technologies are becoming elements of a new artistic reality, which has a significant impact on the psychology of aesthetic perception. A considerable amount of factual material has been accumulated in various countries where new technologies are being actively developed, requiring scientific reflection in the context of culture, including in the interests of improving artistic practice. “Cinema is undergoing major changes at all levels. Examples of non-film movies, videotapes, prints, movie projectors, and collective screening appear in the darkened auditorium. Directors and screenwriters come up with plots, shoot, and edit movies using computer-based image manipulation from the desktop. It is not just about the invasion of computer graphics into the film process, but about the profound changes of the concept itself. For the viewer, the presence of digital cinema is reflected in a large number of special effects produced on or using the computer”1 [1]. The same can be said about theatrical acts. With computer graphics and laser installations indoors or outdoors, you can see a large action image in the air. One of the latest advances in computer technology is the virtual promoter (online promoter). It is a construction of transparent acrylic with a thickness of not more than one centimeter, with the application of unique material on it. An image of a person is projected onto the structure. Thanks to the special projection back-film, under intense artificial lighting, the projected image remains very bright. -
An Investigation Into the Creative Processes in Generating Believable Photorealistic Film Characters
AN INVESTIGATION INTO THE CREATIVE PROCESSES IN GENERATING BELIEVABLE PHOTOREALISTIC FILM CHARACTERS Henry Melki Supervised by Prof. Ian Montgomery Prof. Greg Maguire Faculty of Arts, Humanities & Social Sciences Belfast School of Art Ulster University This dissertation is submitted for the degree of Doctor of Philosophy October 2019 DECLARATION This dissertation is the result of my own work and includes nothing, which is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. I hereby declare that with effect from the date on which the thesis is deposited in the Library of Ulster University, I permit the Librarian of the University to allow the thesis to be copied in whole or in part without reference to me on the understanding that such authority applies to the provision of single copies made for study or for inclusion within the stock of another library. In addition, I permit the thesis to be made available through the Ulster Institutional Repository and/or ETHOS under the terms of the Ulster eTheses Deposit Agreement which I have signed. IT IS A CONDITION OF USE OF THIS THESIS THAT ANYONE WHO CONSULTS IT MUST RECOGNISE THAT THE COPYRIGHT RESTS WITH THE AUTHOR AND THAT NO QUOTATION FROM THE THESIS AND NO INFORMATION DERIVED FROM IT MAY BE PUBLISHED UNLESS THE SOURCE IS PROPERLY ACKNOWLEDGED. ABSTRACT This thesis examines the benefits and challenges that digital Visual Effects have had on character believability. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Make-Up Artists and Hair Stylists Guild Local 706–I.A.T.S.E. 828 N. Hollywood Way Burbank, California 91505
Prsrt Std U.S. Postage Paid Santa Ana, CA Make-up Artists and Hair Stylists Guild Permit No. 450 Local 706–I.A.T.S.E. 828 N. Hollywood Way Burbank, California 91505 VOLUME 8 NUMBER 4 Anniversary Issue 2012 Features Departments 22 The Hollywood Museum 4 From the President Congratulates Local 706 Tonight is your night! 24 Creating the Fantasy 6 Local Perspective With hair & make-up effects Artisans’ 75th Anniversary 8 Special Thanks 28 75 Years of Wonderful History A letter from Gov. Brown The way we were 10 Certificate of Recognition From Mayor Villaraigosa 13 Guild News The first contract 16 Government Proclamations Top, left to right: Our charter, a hand-embroidered Local 706 banner before hairdressers came in. Above: 1950s Deb Star Ball at the Hollywood Palladium Above, from left: Imogene Coca in make-up, Carmen Dirigo, hair stylist to the stars of the 1930s & 1940s. 1 Official Magazine of Hollywood Make-up Artists & Hair Stylists. Published in the Interest of ALL the Members of Make-up Artists & Hair Stylists I.A.T.S.E. Local 706 Thank You Supervising Editor JEFF ANGELL Contributing Writers MICHAEL FRANCIS BLAKE SUSAN CABRAL-EBERT TOMMY COLE Publisher For your Generous Support INGLEDODD PUBLISHING Office Manager KATHY SAIN as the Presenting Sponsor Mailing List Manager DIANE BURNS of our The Artisan is published quarterly 75th Diamond Anniversary Celebration by Make-up Artists & Hair Stylists, I.A.T.S.E. Local 706, 828 No. Hollywood Way, Burbank, CA 91505 Phone (818) 295-3933. Fax 818-295-3930 All editorial and photo and Your Continuous Encouragement submissions should be sent to e-mail address: [email protected] of our Professional Development and Craft. -
Terminator Genisys – Pressbook Italiano
Terminator Genisys – pressbook italiano 1 Terminator Genisys – pressbook italiano PARAMOUNT PICTURES e SKYDANCE PRODUCTIONS Presentano Con ARNOLD SCHWARZENEGGER, JASON CLARKE, EMILIA CLARKE, JAI COURTNEY, J.K. SIMMONS MATTHEW SMITH, e BYUNG-HUN LEE. Regia di ALAN TAYLOR Sceneggiatura di LAETA KALOGRIDIS & PATRICK LUSSIER Prodotto da DAVID ELLISON e DANA GOLDBERG Produttori Esecutivi BILL CARRARO, LAETA KALOGRIDIS, PATRICK LUSIER, MEGAN ELLISON e ROBERT CORT Direttore della Fotografia KRAMER MORGENTHAU, ASC Uscita Italiana: 9 Luglio 2015 Durata del Film: 119 minuti Il materiale fotografico è disponibile sul sito www.upimedia.com http://www.terminatorgenisys.it/ twitter.com/universalpicsit Facebook: www.facebook.com/TerminatorGenisys.IT Ufficio Stampa Universal Pictures International Italy: Cristina Casati – [email protected] Marina Caprioli – [email protected] Simone Raineri – [email protected] 2 Terminator Genisys – pressbook italiano Note di Produzione Quando John Connor (Jason Clarke), leader della resistenza umana, spedisce indietro nel tempo nel 1984 il Sergente Kyle Reese (Jai Courtney) per proteggere Sarah Connor (Emilia Clarke) e salvaguardare il futuro, un evento inaspettato crea una frattura nella linea temporale. Così, il Sergente Reese si ritroverà in un passato nuovo e sconosciuto, in cui dovrà fronteggiare improbabili alleati, tra cui un nuovo terminator T-800, il Guardiano (Arnold Schwarzenegger), nuovi pericolosi nemici, ed una nuova missione inaspettata: Per ripristinare il futuro ... Paramount Pictures e Skydance Productions presentano "Terminator Genisys", con Arnold Schwarzenegger, Jason Clarke, Emilia Clarke, Jai Courtney, J.K. Simmons Matthew Smith, e Byung-hun Lee. "Terminator Genisys" è diretto da Alan Taylor, e scritto da Laeta Kalogridis e Patrick Lussier. E' prodotto da David Ellison e Dana Goldberg. -
The BG News April 1, 1992
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-1-1992 The BG News April 1, 1992 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News April 1, 1992" (1992). BG News (Student Newspaper). 5359. https://scholarworks.bgsu.edu/bg-news/5359 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. ^ The BG News Wednesday, April 1,1992 Bowling Creen, Ohio Volume 74, Issue 123 Weather Emergency committee planned by Klmberly Larson The BG News The Budget Crisis The Senate Executive Committee voted unani- SEC budget plan mously Tuesday to form an emergency committee to recommend where budget cuts can be made. Tolo, we're not in Florida The committee will consist of three faculty anymore: gets tentative nod members, three members of classified staff, two Wednesday, mostly administrators, members of both Graduate Stu- cloudy and colder with a oy Kirk Pavelich dent Senate and Undergraduate Student Govern- The BG News chance of flurries. High 35 ment and a Firclands College representative. to 40. Northwest winds 10 to The solidarity of the different groups on campus 20 mph and gusty. Chance of could make the committee very effective with its The University administration is open to the Senate Executive snow 40 percent. -
Race to Witch Mountain
THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.wdsfilmpr.com © Disney Enterprises, Inc. All Rights Reserved. disney.com/RaceToWitchMountain Dr. Donald Harlan. GARRY MARSHALL WALT DISNEY PICTURES Tina. KIM RICHARDS Sheriff Antony . IAKE EISSINMANN CREDITS Presents Siphon . TOM WOODRUFF, JR. Siphon Stunt Double . PAUL DARNELL Frank . JOHN DUFF RACE TO Marty . BOB KOHERR Matt. KEVIN CHRISTY WITCH MOUNTAIN Lloyd . BOB CLENDENIN Imperial A Stormtrooper Ciardi . SAM WOLFSON GUNN FILMS Imperial Stormtrooper Gray. BRYAN FOGEL Production Dominick . ROBERT TORTI Chuck. JOHN KASSIR Stenftenagel . BETH KENNEDY Directed by . ANDY FICKMAN Gallagher . JONATHAN SLAVIN Screen Story by. MATT LOPEZ Analyst D. Pleasence. HARRY S. MURPHY Screenplay by . MATT LOPEZ Four-Star and MARK BOMBACK General V. Lewton . TED HARTLEY Based on the Book by . ALEXANDER KEY General E. Albert. JACK EASTLAND Produced by. ANDREW GUNN Natalie Gann . MEREDITH SALENGER Executive Producers . MARIO ISCOVICH Casey Taylor. ANDREW SHAIFER ANN MARIE SANDERLIN Gail Ross . SUZANNE KRULL Director of Photography . GREG GARDINER Oren Bergman . STEVE ROSENBAUM Production Designer. DAVID J. BOMBA Sunday. CHRISTINE LAKIN Edited by. DAVID RENNIE, A.C.E. Brokedown Cadillac . CORRI ENGLISH Costume Designer . GENEVIEVE TYRRELL RANDY DUNHAM Special Character Effects DON IAN Designed and Created by . ALEC GILLIS JEFF LEGORE and TOM WOODRUFF, JR. DANNY REULAND Music by. TREVOR RABIN Iscovich. DAVE ENGFER Music Supervisor . LISA BROWN Police Officer Hough . OMAR DORSEY Casting by. RANDI HILLER, C.S.A. Frankie Valet . JOSEPH LEO BWARIE and SARA FINN, C.S.A. Teddy Tentacles . PAUL NYGRO Hendricks. BRANDON MILLER Unit Production Manager . PAUL MOEN Repola. ANDREW T. JANEY First Assistant Director . GEOFF HANSEN Ray. -
The Massive Adventures of Massive Guy : the Orange Avenger Unleashed Pdf, Epub, Ebook
THE MASSIVE ADVENTURES OF MASSIVE GUY : THE ORANGE AVENGER UNLEASHED PDF, EPUB, EBOOK David Newton Zimmerman | 128 pages | 06 Jun 2013 | Createspace Independent Publishing Platform | 9781484935828 | English | none The Massive Adventures of Massive Guy : The Orange Avenger Unleashed PDF Book The thing with Galactus is, though, his size and cosmic nature means that he never engages in hand to hand combat; nor does he need to. Sweeper uncredited Jasmine With Avengers Disassembled What If? After a brief career in propaganda and saving his best friend, Rogers begins to take the fight to the evil forces of the Nazi organization HYDRA and its dictatorial leader Red Skull, who seeks a source of dangerous power to help him destroy the world. Savage Avengers 16 Duggan , Zircher. Scared Spectator uncredited. Agent Maria Hill. Civilian uncredited. By Ana Dumaraog Nov 01, That may start to come close to describing Thanos, who is often considered one of the biggest Marvel villains ever created. Warpath will next be seen in the upcoming "Weapon X" series. Sign In. Brownstown, MI. Cell Home Work. Agent uncredited Mayank Bhatter History of the Marvel Universe. Tall Thug M'laah Kaur Singh Beer Garden Patron uncredited Caleb Pieplow New York Police Officer in Firefight uncredited. Of course, the Hulk got nothing but 7 s in every one of his trading card appearances. Also known as the Mad Titan, Thanos was responsible for the near destruction of his own home planet and his people. That didn't last long, however. Loading Something is loading. Don't let his size fool you. Museum Gala Patron uncredited Josh Heileman Limo Driver uncredited Todd Manes In that second Thor movie, Jane Foster absorbed the Aether into her body after she made physical contact with it.