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Euromasters Reports I and II Glasnost Surprises
NEWS FOR OPERA TORS AND OWNERS Volume 2 Number 3 Jan 1990 ac?iU~ n Glasnost • I Surprises In November 1989, while visiting Moscow on a fi lm distribution deal, Ian Woolston-Smith arranged to meet cameramen whenever he could. Armed with a translator, a Sony GV-9 TVIVCR , and a book of Steadicam production stills, Ian discussed the virtues ofSteadieam with Vertical I and Vertical II plans from Mosfilm . -Do not duplicate! everyone he met in thefilm industry. EuroMasters Reports I and II "Equipment such as this is only a dream in the Soviet Union," said a cameraman who shot major Soviet 1989 European Masters Nicola Pecorini writes fr om Italy; music videos. conducted at Castle Brolio European Steadicam Operators At Mosfilm, a government studio Association proposed in Moscow, I received a camera ---- ---- -- - - demonstration by the man in charge of In October, 25 of Europe's best camera equipmen t. When I pulled out assembled near Siena and spent a Siena, 12/31/89 a still of a IIe in low mode, his eyes rewardi ng time studying and collec Strange but true, we made it! lit up. "Ahhh! Steadicam! " Yuri , my tively advancing the art and scie nce of We have been able to put together tour guide, expressed to him my Steadicam. The cameraderie, the for one week, a whol e week, 25 of the interest and then told me, "He says weath er, the food and the wine were busiest men on earth. Eu ropean and that we have this, a Steadicam, and all excellent. Castle Brolio, particu American operators were cloistered will arran ge a meeting between you larly in the fall when the great stone inside a medieval cas tle in the heart of and the man who does this." walls retain the heat of summer, Chianti, drinki ng wine and dissectin g Alas, it wasn't until my last day in offered a friendly and fasci nating every possible aspect of their profes Russia that the meet ing could be atmo sphere, and the portraits of 11th sion . -
Shot Types Identified Refer To: There Is a Convention in Video and Filmmaking That Assi
Shot Types identified; Camera angles and movement 1 Info Sheet Shot Types Identified Refer to: http://www.mediacollege.com/video/shots/ There is a convention in video and filmmaking that assign names and guidelines to common types of shots, framing and picture composition. The list below briefly describes the most common shot types. The exact terminology often varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular SUBJECT. 1. EWS (Extreme Wide Shot) / Establishing Shot The view is often on the level of showing the entire landscape. The view is so far from a human subject, for example, that s/he isn't even visible. Often used as an establishing shot. 2. An establishing shot is used to show the location or environmental context of the action shot that follows. 3. VWS (Very Wide Shot) / Wide Angle The human subject is visible, but barely noticeable in the frame. The emphasis is on placing him/her in context/environment. 4. WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, or full shot. The subject is shown from head to toe. 5. MS (Medium Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject. Usually shows the subject from the hips or waist to the top of the head. 6. MCU (Medium Close Up) Half way between a MS and a CU. 7. CU (Close Up) A certain feature or part of the subject takes up the whole frame. -
10 Tips on How to Master the Cinematic Tools And
10 TIPS ON HOW TO MASTER THE CINEMATIC TOOLS AND ENHANCE YOUR DANCE FILM - the cinematographer point of view Your skills at the service of the movement and the choreographer - understand the language of the Dance and be able to transmute it into filmic images. 1. The Subject - The Dance is the Star When you film, frame and light the Dance, the primary subject is the Dance and the related movement, not the dancers, not the scenography, not the music, just the Dance nothing else. The Dance is about movement not about positions: when you film the dance you are filming the movement not a sequence of positions and in order to completely comprehend this concept you must understand what movement is: like the French philosopher Gilles Deleuze said “w e always tend to confuse movement with traversed space…” 1. The movement is the act of traversing, when you film the Dance you film an act not an aestheticizing image of a subject. At the beginning it is difficult to understand how to film something that is abstract like the movement but with practice you will start to focus on what really matters and you will start to forget about the dancers. Movement is life and the more you can capture it the more the characters are alive therefore more real in a way that you can almost touch them, almost dance with them. The Dance is a movement with a rhythm and when you film it you have to become part of the whole rhythm, like when you add an instrument to a music composition, the vocabulary of cinema is just another layer on the whole art work. -
South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
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. -
Film Glossary Camera Framing (Size in Frame) Frame Individual Still Image; the Rectangle Within Which the Image Is Composed Or Captured
Film Glossary Camera Framing (Size in frame) frame Individual still image; the rectangle within which the image is composed or captured. extreme wide shot Takes in a large expanse of the setting to emphasise location or isolation. long shot Takes in much or all of the action while keeping the subject in sight (AKA wide shot). full shot Shows character from head to toe; highlights costume or shows multiple characters. medium long shot Shows characters from the knees up; useful when movement must be shown. medium shot Shows characters from the waist up; good for dialogue scenes. medium close-up Middle ground between MS and CU; maintains eerie distance during conversations. close-up Tightly frames an entire face/object; can reveal emotions/reactions. extreme close-up Shows a specific detail of a subject, filling the frame, to draw attention to it. establishing shot Shows a (often exterior) setting; placed at the head of a scene to establish location. master shot Establishes spatial relationships/setting; returned to when these need re-established. reframe Adjustment of framing to compensate for movement within the frame. shot size The size of the subject in the frame – close-up, long shot, full shot, etc. Camera Framing Subjects placed in frame single shot One character is alone in the frame to give them importance or create isolation. two-shot Shows two characters in a frame to create a relationship between them. group shot Allows the camera to efficiently follow several characters; can create a bond. over-the-shoulder shot Camera sits over the shoulder of a character, looking at the same thing as them. -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
Camera Department Blueprint
The Guerilla Filmmakers Movie Blueprint Camera Department Blueprint 299 Chapter 16 - Camera Department Blueprint The camera department is where most people think movies are really ‘made’. In truth, the camera is simply a recorder of how other artists, be they actors, director,, prproduction designer,, costumecostume andand makmake-up, have chosen to collectively interpret the screenplay.. Sure,Sure, itit cancan oftenoften bebe aa plplayer too, through camera moves and re-framing, but it should always serve the story and not vice versa. A fact often lost on many new film makers who are obsessed by ‘the image’. It’s not how it looklooks, it’s what it says. The camera department has three distinct divisions, really their own departments in their own rights, but so fused that they appear as one here - they are Camera, Lighting and Grips. Camera Kit Lighting Kit Grips Kit This is the actual cameras, with additional You can never have enough lighting, but more This is the equipment upon which the camera lenses, stock, magazines, monitors etc. There lights mean more crew and more power. is mounted. Be it a tripod with head, track and are always add on’s that surprise the Lighting is one of the areas that often betrays dolly or even crane. There are all manner of production, such as filters, special lenses or the budget of a film as it is simply under lit, cheap and cheerful alternatives, such as unique bits of kit to do funky things. Of not dark or underexposed, just unsophisti- wheelchairs, low cost DV designed tracks that course, the camera department comes in two cated, the results of an over-stretched run along ladders, even home made cranes, flavours, film and video. -
Beginners Guide to Video - JMBS
Beginners Guide to Video - JMBS This guide is intended for anyone who wishes to use a video camera for news gathering or documentary work. Although it is written for the complete novice there should also be something here for the more experienced. Camera Technique Books have been dedicated to this but there are a few things that are very useful to consider. • The most reliable way of getting good shots is to turn the lens to as wide an angle as possible and get as close to the subject/action as possible. • Treat the camera as if it were a stills camera. Avoid panning(left/right), tilting(up/down) and zooming unless it is absolutely necessary. Simple shots are best and they are easier to pull off. • Use a tripod or monopod wherever possible and if not try to find something to lean against. • If you have to change the camera angle do it as slowly (and smoothly) as possible. It is much better to have something briefly out of shot than to be continually/rapidly changing the camera angle. Ideally it should be done so slowly that the audience does not notice. • If you are panning over a long distance or following quick moving action generally speaking things should be in shot for at least five seconds. • When shooting without a tripod bear in mind the wider the angle you are shooting the steadier the shot. If possible move in closer rather than zooming in. To help steady the camera push the eyepiece to your eye and press your elbows against the bottom of your ribs. -
The Steadicam® and Its Parts
Section One the Steadicam® and its parts 7 11CC SSectionection final.inddfinal.indd 7 111/19/081/19/08 112:22:202:22:20 PPMM The Steadicam® Operator’s Handbook Wearing the Steadicam® for the fi rst time Q: What’s it feel like? A: Well, it’s different. Until you wear it once or twice, very little of what we’ll discuss in the book will make much sense to you. Q: Come on. What’s it feel like? Is it heavy? A: It’s going to be a lot less effort than you might expect. Q: Will it hurt my back? A: If the vest and arm are adjusted right, and you stand correctly, it will not hurt or strain your back. Q: So, what’s it going to feel like? A: You’re going to feel some pressure on your legs, but not much. The Steadicam is going to move around a lot more than you might expect. It’s very free to move in space and to pan, tilt, and roll. Very, very free. You’ve got to dance with the Steadicam and be in balance at all times. It helps if the sled is in balance, if you have a solid understanding of the physics, if you know what to do with each hand, how to walk, and... Q: What are you talking about? Am I going to fall over? A: Probably not. You’ve got to try it on, and the sooner the Steve Tiffen, at age 15, better. If you are at a workshop or demonstration, some- tries on the Model One one knowledgeable will help you get into the rig for the for the fi rst time at the fi rst time. -
Yolngu Boy Tail Credits
Directed by Stephen Johnson Producers Patricia Edgar Gordon Glenn Writer Chris Anastassiades Executive Producers Patricia Edgar Stephen Johnson Associate Producers Galarrwuy Yunupingu Mandawuy Yunupingu Director of Photography Brad Shield Editor Ken Sallows Original Music By Mark Ovenden Production Designer Sarah Stollman Casting Director Maggie Miles Line Producer Elisa Argenzio Lorrpu John Sebastian (Sebbie) Pilakui Botj Sean Mununggurr Milika Nathan Daniels Yuwan Lirrina Mununggurr Matjala Makuma Yunupingu Dawu Nungki Yunupingu Maralitja Man Mangatjay Yunupingu Policeman Gurkula Lunginy Gerard Buyan Garrawurra Botj (9 years) Garritjpi Garawirrtja Lorrpu (9 years) Buywarri Mununggurr Milika (9 years) Buwata Mununggurr Ruwu (I Wanna Kick!) Yithangarra Wunungmurra Lorrpu's Father Lalambarri Yunupingu Milika's Father Balupalau Yunupingu Botj's Dad Malati Yunupingu Botj's Mother Merriki Ganambarr Umpire Garry Dhurrkay Football Coach Vernon Kenneth Lesley Patullo Dhunthun Andrew Galitju Burarrwanga Crying Woman Allyson Mills Ngarli Woman at Hospital Mary Yunupingu Djarrak Player Grant Gambley Crowd #1 Gurumin Marika Policeman at Wharf Joe Clements 1st Assistant Director John Martin Script Editors Gordon Glenn Stephen Johnson Sound Recordist Andrew Belletty Continuity Chrissie O'Connell Costume Designer Jill Johanson Make Up and Hair Designer Trish Glover Dramaturg Nico Lathouris Location Manager Peter Muston Production Accountant Janine Martorejo Moneypenny Services Post Production Supervisor Elisa Argenzio Focus Puller Brett Matthews Clapper