THE STATUS of CINEMATOGRAPHY TODAY the Status of Cinematography Today
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Gravity (Cuaron, USA/UK, 2013) Introducing Some Key Points About Production, Distribution and Exhibition
Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production budgets and distribution There are various ways of describing high budget, mainstream films: – blockbusters (the word journalists tend to use) – high grossing films (industry terminology) – ‘tent-pole’ films – also industry terminology, used to describe the high grossing films the industry want to ‘hang’ their other releases on (once audiences have been drawn into the cinema, the idea is that they will return) – high concept films (possibly a more academic term to describe films based on one simple idea that can be easily pitched – often accompanied by a defining soundtrack). High budget films support a studio’s other releases during the year and tend to have budgets of at least $100 million and some can exceed $200 million. The highest budget film is usually quoted asSpider-Man 3 (2007), which had a budget of approximately $258 million. It’s often useful when looking at the US and UK film industries to have a rough idea of the approximate size of films’ production budgets. Generally speaking, the lower the budget, the lower the distribution spend – which means, screening on a more limited range of cinemas and spending less on marketing. The most common ways of describing film production budgets and release patterns are: high, medium and low budget and saturation, wide and limited release. The industry does, however, use more specific categories (such as key cities, selected cities etc.). You can see some of this detail on the UK Film Distributors’ Association’s ‘Launching Films’ website’. Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production Distribution Approximate number of screens - USA (UK) Saturation Wide release Limited release release 50 – 2500 max 4500 (500) 3000 (300) (50 – 250 max) ‘Blockbuster’/ $100m + high grossing films Some lower budget blockbusters given wide release Medium budget Approx. -
4K Resolution Is Ready to Hit Home
4K RESOLUTION 4K Resolution is ready to Hit Home 4K that became a digital cinema standard in 2005 is now recognized as the next high quality image technology of HD in the market. With a growing selection of 4K televisions and recent announcements of affordable cinema-style camcorders, 4K resolution is poised to become a new standard. VIVEK KEDAR 011 was a year of Tablets and mobile. - Hacktivism On one side where we saw new - 4G LTE technologies emerging, mobile devices became way more powerful than they 4K Buzzword 2were. TVs got better but their LG, Samsung and several others would showcase Technologies, especially, 3D, remained their 2012 range of products at CES 2012. The proprietary. major buzz this year would be about the 3D 4K TVs. 2012 would be all about: Not only these TVs would be large (~60″ they - Quad core Tablets, Mobile Phones would deliver super high definition content with a - 3D TVs with 4k resolution (4096x) smooth picture (~200hz and above). - Mobile payments One of the first companies to embrace the - Rise of NextGen Social networking resolution craze was Oakley founder Jim Jannard's 4K RESOLUTION company, RED DIGITAL CINEMA. In 2007, they strong need of building integrated and distributed released a new camcorder called the RED One that environment for high resolution applications. could shoot at 4K resolutions for a much lower In simple words, the 4K is the resolution of 8-9 MPix price than comparable 4K camcorders. Then, in having about 4 thousands points horizontally. The 2011, the EPIC camera upped the resolution even resolution often depends on the screen aspect further to 5K. -
Paramount Consent Decree Review Public Comments 2018
COMMENTS OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS U.S. DEPARTMENT OF JUSTICE, ANTITRUST DIVISION REVIEW OF PARAMOUNT CONSENT DECREES October 1, 2018 National Association of Theatre Owners 1705 N Street, N.W. Washington, D.C. 20036 (202) 962-0054 I. INTRODUCTION The National Association of Theatre Owners (“NATO”) respectfully submits the following comments in response to the U.S. Department of Justice Antitrust Division’s (the “Department”) announced intentions to review the Paramount Consent Decrees (the “Decrees”). Individual motion picture theater companies may comment on the five various provisions of the Decrees but NATO’s comment will focus on one seminal provision of the Decrees. Specifically, NATO urges the Department to maintain the prohibition on block booking, as that prohibition undoubtedly continues to support pro-competitive practices. NATO is the largest motion picture exhibition trade organization in the world, representing more than 33,000 movie screens in all 50 states, and additional cinemas in 96 countries worldwide. Our membership includes the largest cinema chains in the world and hundreds of independent theater owners. NATO and its members have a significant interest in preserving an open marketplace in the North American film industry. North America remains the biggest film-going market in the world: It accounts for roughly 30% of global revenue from only 5% of the global population. The strength of the American movie industry depends on the availability of a wide assortment of films catering to the varied tastes of moviegoers. Indeed, both global blockbusters and low- budget independent fare are necessary to the financial vitality and reputation of the American film industry. -
Panaflex Millennium Manual
THE PANAFLEX MILLENNIUM Operations Manual PANAVISION 6219 De Soto Avenue Woodland Hills, CA 818.316.1000 91367 text Nolan Murdock Gary Woods design and production Roger Jennings Richard J. Piedra Susan J. Stone photos Christina Peters © Copyright 2000, Panavision, Inc. Second edition: 09/00 THE PANAFLEX MILLENNIUM Operations Manual Table of Contents SECTION ONE _______________ GENERAL SPECIFICATIONS 1.1 .................................. Cable Specifications 1.2 .................................. Camera Specifications 1.3 .................................. Camera Illustrations 1.4 .................................. Side Camera Views 1.5 .................................. Front and Rear Camera Views 1.6 .................................. Ground Glass Options SECTION TWO ______________ PACKING AND SHIPPING 2.1 .................................. Packing and Transport 2.2 .................................. Accessory Cases SECTION THREE _____________ ASSEMBLY 3.1 .................................. Camera Assembly 3.2 .................................. Digital Display 3.3 .................................. Iris Rod Bracket 3.4 .................................. On-Board Monitor and Bracket 3.5 .................................. Panalens Lite with Video 3.6 .................................. Witness Camera Monitor and Bracket 3.7 .................................. Auxiliary Carrying Handle 3.8 .................................. Follow Focus 3.9 .................................. Eyepiece Option 3.10 ................................ Eyepiece Leveler -
The Commutation Test and Chris Bacon's Score for Source Code As
The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay. -
FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures. -
Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue
ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur -
MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe. -
The Impact of Social Media on a Movie's Financial Performance
Undergraduate Economic Review Volume 9 Issue 1 Article 10 2012 Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Joshua J. Kaplan State University of New York at Geneseo, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/uer Part of the Economics Commons, and the Film and Media Studies Commons Recommended Citation Kaplan, Joshua J. (2012) "Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance," Undergraduate Economic Review: Vol. 9 : Iss. 1 , Article 10. Available at: https://digitalcommons.iwu.edu/uer/vol9/iss1/10 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Abstract This paper examines the impact of social media, specifically witterT , on the domestic gross box office revenue of 207 films released in the United States between 2009 and 2011. -
M a G a Z I N
OCTOBER VOLUME 18 2018 MAGAZINE ® ISSUE 5 Where everyone goes for scripts and writers™ InkTip Theatrical Release: Mark E. McCann’s Beautifully Broken Inspires On & Off the Screen PAGE 18 FIND YOUR NEXT SCRIPT HERE! CONTENTS Contest/Festival Winners 4 Feature Scripts – FIND YOUR Grouped by Genre SCRIPTS FAST 5 ON INKTIP! Mark E. McCann’s Beautifully Broken Inspires On & Off the Screen 18 INKTIP OFFERS: • Listings of Scripts and Writers Updated Daily Scripts Represented • Mandates Catered to Your Needs by Agents/Managers • Newsletters of the Latest Scripts and Writers 42 • Personalized Customer Service • Comprehensive Film Commissions Directory Teleplays 44 You will find what you need on InkTip Sign up at InkTip.com! Note: For your protection, writers are required to sign a comprehensive release form before they place their scripts on our site. 3 WHAT PEOPLE SAY ABOUT INKTIP WRITERS “[InkTip] was the resource that connected “Without InkTip, I wouldn’t be a produced a director/producer with my screenplay screenwriter. I’d like to think I’d have – and quite quickly. I HAVE BEEN gotten there eventually, but INKTIP ABSOLUTELY DELIGHTED CERTAINLY MADE IT HAPPEN WITH THE SUPPORT AND FASTER … InkTip puts screenwriters into OPPORTUNITIES I’ve gotten through contact with working producers.” being associated with InkTip.” – ANN KIMBROUGH, GOOD KID/BAD KID – DENNIS BUSH, LOVE OR WHATEVER “InkTip gave me the access that I needed “There is nobody out there doing more to directors that I BELIEVE ARE for writers than InkTip – nobody. PASSIONATE and not the guys trying THEY OPENED DOORS that I would to make a buck.” have never been able to open.” – DWAIN WORRELL, OPERATOR – RICKIE BLACKWELL, MOBSTER KIDS PRODUCERS “We love InkTip. -
2018 10-26 ALEXA LF & Anamorphic Lenses
NOTE FROM MARC SHIPMAN MUELLER It is possible to use both the ALEXA LF and ALEXA Mini LF to shoot Netflix shows with Super 35 lenses and this has been done in many cases already. The “LF 16:9” sensor mode is Netflix approved and allows the use of a variety of spherical Super 35 lenses (see the list of ARRI lenses below), and using a 2880 x 2880 frameline is Netflix approved (see attached white paper) and allows the use of ARRI Master Anamorphics or Cooke Anamorphics Super 35 anamorphic lenses, also both options that are in use. ARRI spherical Super 35 lenses that cover LF 16:9 - Ultra Primes from 20 mm on - Master Primes from 35 mm on - Alura LWZ 30 – 80 mm - Alura LWZ 15.5 – 45 with Alura Extender 1.4x - Alura Studio zoom 18 – 80 with Alura Extender 1.4x - Alura Studio zoom 45 – 250 with Alura Extender 1.4x - Ultra Wide Zoom 9.5 – 18 ≥ 10 mm - Master Macro 100 - Alura Studio zoom 18 – 80 from 40 mm on without extender - Alura Studio zoom 45 – 250 from 100 mm on Following pages ALEXA LF & Anamorphic Lenses W h i t e P a p e r . ALEXA LF & Anamorphic Lenses W h i t e P a p e r October 26, 2018 Version History Version Author Change Note July 27, 2018 Marc Shipman-Mueller First publication October 26, 2018 Marc Shipman-Mueller - Updated with LF SUP 3.0 information - Updated with LF SUP 4.0 information - Added "Panavision Ultra Vista Anamorphic" and "Cooke Anamorphic/i Full Frame Plus" lenses - Added 1.65x and 1.80x de-squeeze text and screenshots - Added "What is a crop factor and how do I calculate it?" - Added " Appendix B: A Brief History of the Anamorphic Process" - Minor textual polishing Scope This white paper pertains to using full format and 35 format anamorphic lenses with ALEXA LF cameras.