Film Making Resource C
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Press Contacts for the Television Academy: 818-264
FOR IMMEDIATE RELEASE Post-awards presentation (approximately 7:00PM, PDT) September 11, 2016 WINNERS OF THE 68th CREATIVE ARTS EMMY® AWARDS ANNOUNCED (Los Angeles, Calif. - September 11, 2016) The Television Academy tonight presented the second of 2016 Creative Arts Emmy® Awards ceremonies for programs and individual achievements at the Microsoft Theater in Los Angeles and honored variety, reality and documentary programs, as well as the many talented artists and craftspeople behind the scenes who create television excellence. Executive produced by Bob Bain, this year’s Creative Arts Awards featured an array of notable presenters, among them Derek and Julianne Hough, Heidi Klum, Jane Lynch, Ryan Seacrest, Gloria Steinem and Neil deGrasse Tyson. In recognition of its game-changing impact on the medium, American Idol received the prestigious 2016 Governors Award. The award was accepted by Idol creator Simon Fuller, FOX and FremantleMedia North America. The Governors Award recipient is chosen by the Television Academy’s board of governors and is bestowed upon an individual, organization or project for outstanding cumulative or singular achievement in the television industry. For more information, visit Emmys.com PRESS CONTACTS FOR THE TELEVISION ACADEMY: Jim Yeager breakwhitelight public relations [email protected] 818-264-6812 Stephanie Goodell breakwhitelight public relations [email protected] 818-462-1150 TELEVISION ACADEMY 2016 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent -
Technical Theatre I
2nd Nine weeks Fall Calendar 2008 Mr. McGlynn Rm. I-02 Target Outcomes: The student continues demonstration of digital editing skills in the program Power director #7. The student demonstrates skills in Newscast production work and formatting. The student demonstrates skills and understanding in using Pinnacle 12 Green screen technology. The student knows the five basic elements of story and plot structure within a short 10 min. film. The student continues practicing a variety of camera angles and shots in telling a story on film. The student will practice still animation techniques in film editing a 3-5 min. short film. Assignments: 1. Daily production work (Q. grd.) 2. Vocab Chap. #14 (stage and school book) (Q. grd.) 3. Rev. Questions Chap. #14 (stage and school book) (T. grd.) 4. Citizen Kane discussion of Transitions, camera angles, lighting & symbolism (Q. grd.) 5. Storyboard 3-5:00 min. still animation film project 4 students per group (Q. grd.) 6. Still animation project (T. grd.) 7. Storyboard Newscast and make assignments, 10 students per group (Q. grd.) 8. 10 min. Newscast (200 pt. T. grd.) 9. „Storyboard/Script‟ film project, 4 students per group (T. grd.) 10. Film Dailies (three Q. grds.) 11. 10 min. film project 4 per group (Final project 400 pt. T. grd.) 12. Clean up grade (Q. grd.) 13. Final exam “20 question vocabulary Test” (Final exam grd.) 14. Extra credit: Film Archive 10 min. highlight projects outside of your assigned work: (school events) 10/21-22 Watch “Citizen Kane” / handout on camera shots, transitions, lighting. / Ch. #14 Vocab (Q. -
3. Create a Storyboard and a Shot List
mini filmmaking guides pre- production 3. CREATE A STORYBOARD AND A SHOT LIST To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) 1. ASSIGN PRODUCTION ROLES 2. SCOUT FOR LOCATIONS 3. CREATE A STORYBOARD AND A SHOT LIST 4. SOURCE COSTUMES, MAKE-UP & PROPS PRODUCTION (5 guides) POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRE PRODUCTION STORYBOARD AND SHOT LIST What is a storyboard? A storyboard is a visual representation of a whole film. It allows filmmakers to plan and see how the finished film will look on screen. It is a series of drawings which either shows each scene from your film or, for more detail, each shot. By planning your shots in advance you can help minimise mistakes. You can identify any shots that might not work and take them out before you pick up the camera. A storyboard not only illustrates the director’s vision for his/her film, it is also a useful tool for the camera operator and editor. It helps them understand exactly how shots should be framed and their correct order. Storyboard structure There are a variety of ways of storyboarding your film: Scene by scene If you want to just draw each scene, you can create an accompanying shot list detailing the camera shots and movements you’ll use. A shot list is useful because it lists the camera shots in order so you can tick them off as you film. This helps ensure that no shots are missed out. -
The Storyboard
The Storyboard The Advantages of Storyboarding By Kylene Arnold Storyboards are pictures of each shot in a film [as visualized by the filmmaker before actual shooting of the film begins]. They may be as simple as stick figures or as complex as full-color illustrations created by a storyboard artist. However, regardless of their level of complexity, their function remains the same: to develop and communicate the director's vision to other crew members and executives. Some famous directors, such as Alfred Hitchcock, considered them an indispensable part of the pre-production process because of the advantages he gained from this previsualization technique. Refined Vision Storyboards force the director to translate his broad vision for the film into concrete, executable shots. During the storyboarding phase, he can experiment with different camera angles, Page 1 of 4 reorganize scenes or cut them to see how they impact the story. Some directors use storyboards as a reference during production to help them remember all of the shots they planned. They may also use them as a way to communicate their vision to producers or investors. Problem Identification A storyboard can serve as a paper edit of the movie, which allows you to identify weaknesses that may not otherwise be apparent until post-production. For example, when you "see" your film, you may discover that the pacing is slow, that several visually similar scenes are lumped together or that a particular scene is going to require more props, extras or visual effects than you had thought. Because storyboards are a tool that you can show to others, it allows them to help you identify these weaknesses and improve the film before you shoot it. -
Storyboard Background-Information Styles, Tipps and Methods
Storyboard Background-Information Styles, Tipps and Methods By Saskia Petrenz [email protected] Contents Introduction 3 Mindset of the storyboards artist: Who he is and what he does 4 Storyboard Styles 6 Work-Flow 8 Composition 11 Lighting and Color 12 Tips/Methods 15 Dictionary 17 Questionnaire 18 Sources 19 2 Introduction This paper will give a general overview about storyboards, information about different styles of storyboards and how to use them. The mindset of a storyboard artist and his work-flow will also be explained. Additionally composition and the use of light in storyboards will be explained as well as some handy tips and tricks. At the end a dictionary lists eventually necessary technical terms. What is a storyboard? A storyboard is a suggestion. It gives a possible basic setup for a scene including general camera setups and lighting. It allows advance organization, frame by frame and shot by shot what is going to be happening dur- ing shooting. The function of a storyboard is to indicate and illustrate all shots needed for the final product. It does this by pre-visualizing the written word (screenplay) and its structure. Also any visual effect will be indi- cated in the storyboard, this means that modern Special Effects Films are more demanding on storyboards. A storyboard serves the visual needs of the director of photography and special effects team. The director and director of photography will go over the storyboard to decide on the needed cameras/ lenses/filters/lighting equipment etc. Also the producer, director, cinematographer and production designer will want to see visuals and illustrated SFX (Special Effects) to estimate cost, the set up for shots and decide on cameras, lighting and framing. -
UNIT-II Pre and Post
UNIT-II Pre and post - production planning - functions, duties and responsibilities of the crew members. Art direction - location - floor management - out-doors and indoors - lighting - management of live shows / live telecast - sports coverage etc. PRE AND POST - PRODUCTION PLANNING The Production Process The production process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of production are: Pre-production: Planning, scripting & storyboarding, etc. Production: The actual shooting/recording. Post-production: Everything between production and creating the final master copy. PRE-PRODUCTION Pre-production is a fairly loose term which refers to the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation. For a small video company, pre-production may refer to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc. For feature films, pre-production is more specific and only begins when other milestones have been met such as financing, screenplay, casting and major staffing. In this case pre-production includes: Location scouting Prop and wardrobe identification and preparation Special effects identification and preparation Production schedule Set construction Script-locking (semi-finalisation of the script) Script read-through with cast, director and other interested parties STAGES OF PRE-PRODUCTION Finalize a Shooting Script While movies are magical, they don‟t come out of thin air. -
Daren R. Dochterman - Illustrator - Visual Effects • Concept Design •3D Modeling/Prop Design (818)530-1238
DAREN R. DOCHTERMAN - ILLUSTRATOR - VISUAL EFFECTS • CONCEPT DESIGN •3D MODELING/PROP DESIGN (818)530-1238 DAREN R. DOCHTERMAN ILLUSTRATION / VISUAL EFFECTS / CONCEPT DESIGN PHONE:818.530.1238 Member: Art Director’s Guild website: www.betafive.com email: [email protected] TRON: LEGACY (TR2N) WESTWORLD (SEASON 2) JUPITER ASCENDING CONCEPT ARTIST CONCEPT DESIGNER 3D CONCEPT ILLUSTRATION WALT DISNEY PICTURES HBO / AUTONOMOUS PRODUCTIONS WARNER BROS. DIRECTOR:JOSEPH KOSINSKI PD: DARREN GILFORD PD: HOWARD CUMMINGS DIRECTOR:WACHOWSKIS G.I. JOE - RISE OF COBRA PREACHER (SEASON 2) ROBOPOCALYPSE (2 YEARS DEVELOPMENT) PRODUCTION ILLUSTRATOR CONCEPT ARTIST CONCEPT ARTIST PARAMOUNT PICTURES AMC DREAMWORKS/AMBLIN DIRECTOR:STEPHEN SOMMERS PD: ED VERREAUX PD: DAVID BLASS DIRECTOR:STEVEN SPIELBERG PD: GUY DYAS DRAGONBALL BOSCH (4 SEASONS) GET THE GRINGO CONCEPT ARTIST TWENTIETH CENTURY FOX VFX ARTIST - COMPOSITOR VISUAL EFFECTS ARTIST DIRECTOR:JAMES WONG PD: BRUTON JONES AMAZON MOVING TARGET PRODUCTIONS FX SUP.: ALAN MUNRO DIRECTOR:ADRIAN GRUNBERG, SUPV. ALAN MUNRO CREATURE FROM THE BLACK LAGOON (DEVELOPMENT) THE CLOVERFIELD PARADOX aka THE GOD PARTICLE JOURNEY 2: THE MYSTERIOUS ISLAND PRODUCTION ILLUSTRATOR UNIVERSAL PICTURES CONCEPT ARTIST CONCEPT ARTIST DIRECTOR:BRECK EISNER PD: TOM DUFFIELD PARAMOUNT / BAD ROBOT WARNER BROS./WALDEN MEDIA PD: DOUGLAS MEERDINK / RICK CARTER DIRECTOR:BRAD PEYTON PD: BILL BOES THE DAY THE EARTH STOOD STILL THE FOUNDER CONCEPT ARTIST LOVE AND OTHER DRUGS TWENTIETH CENTURY FOX VFX ARTIST VISUAL EFFECTS ARTIST / MATTE -
Storyboards 1
Storyboards 1 Storyboards The OCR Guide to Storyboards Version 1 understanding understanding learning guidance resources communication industry knowledge skills employment training education learning guidance qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources resources communicationcommunication industry industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication industry knowledge skills employment training education qualification understanding learning guidance resources communication -