DOCSLIB.ORG

Belonging to The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| BELONGING TO THE BSC Leading cinematographers reveal what being a member of the BSC means to them, and how they’d ROGER DEAKINS CBE BSC ASC like to see their art and craft unfold in the future. Fargo, O Brother Where Art Thou, Jarhead, Skyfall, Blade Runner 2049 Joined: 1999… I can’t recall how I managed to become a board member, nor eventually the BSC president (2014-17). Doesn’t seem |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| possible, but it was. Joined: 1986… I was blown away when I was asked to join by Alex Thomson BSC, just after I shot 1984. Your BSC inspirations? This one is easy… Chris Menges BSC ASC. I Your BSC inspirations? was always inspired by his documentaries and, Oswald Morris OBE BSC and Chris Menges BSC ASC of course, he shot the film Kes, which literally were the two most inspiring BSC members as I began change my life. He also, in his own quiet way, my life as a cinematographer. Ossie’s body of work led me on to my career as a cinematographer is unsurpassed. The Spy Who Came In From The Cold and introduced me to Ken Loach. remains the greatest B/W photography out there. Chris, a gentleman and a true inspiration, brings quiet Your thoughts about cinematography today? dignity to his images and hence to the subjects that he I’m certain that it’s the art of cinematography has trained his camera on. The subject comes first, not that makes cinema so special. I see new talent the cinematography. coming along all the time. Technique and artistry advance endlessly. I believe cinematography can Your thoughts about cinematography today? never die. Cinema is in people’s hearts. I believe in storytelling, and telling stories that are BARRY ACKROYD BSC relevant to our daily lives. I would hope audiences How about cinematography in the future? become interested again in being challenged when they Could the art of cinematography be lost in the see a film, rather than being spoon-fed entertainment. virtual world of algorithms? My nightmare is that The Wind That Shakes The Barley, movies are being made without lighting, lenses, The Hurt Locker, Captain Phillips, How about cinematography in the future? cameras or cinematographers. The Big Short, Bombshell I have no fears for the future of cinematography, only for the future. Joined: 1996… a great honour. My main aim as BSC president (2010-14) was to make our society more inclusive. With the help of the governors we created the BSC Club, allowing aspiring cinematographers to meet us in Q&As and discuss what we do and how. The BSC Expo has gone from strength-to-strength. I feel anybody with talent and passion can access the BSC, and feel truly included in our industry. Your thoughts about cinematography today? Due to digital, cinematography has become less technical and maybe less respected by the average producer. High-end producers understand, but there are fewer and fewer of them. JOHN DE BORMAN BSC We must never lose sight of what we do best, and must stick to our guns to keep preserving and evolving our vision from our perspective. Whilst having lots of fun, of course. The Full Monty, Serendipity, How about cinematography in the future? An Education, Quartet, It’s up to us. The potential is amazing, as long as we Made In Dagenham uphold standards and don’t allow CGI to take over. 1987 f 1987 >> Chris Menges First presentation of the BSC ASC wins John Alcott Memorial Oscar and BAFTA Award to Les Ostinelli Awards for The in honour of legendary Mission (1986). member John Alcott BSC, who died tragically at a g 1986 young age. Sponsored David Watkin The first BSC by ARRI, it is given to BSC wins Oscar, Summer Lunch the person who has BAFTA and BSC is held at Les Ostinelli BSC (centre) contributed most towards with Freddie Young OBE BSC, Awards for Out Shepperton Chic Anstiss Assoc BSC, perpetuating the original Of Africa (1985). Studios. Peter Newbrook BSC and aims of the society. Ossie Morris OBE BSC 22 | British Cinematographer | 70 Years Of The BSC ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| HARIS ZAMBARLOUKOS BSC GSC Enduring Love, Sleuth, Thor, Locke, Artemis Fowl Joined: 2007 What is so special about BSC members? BSC cinematographers have always had an incredible Your BSC inspirations? insight into the human condition. Maybe it is the British The BSC has a mesmerising filmography, and my literary tradition that seems to infuse a great sense of GEORGE RICHMOND BSC favourite DPs managed to capture the essence of a narrative into the filmmaking art? story that has always inspired me. Great Expectations and Oliver Twist shot by Guy Green OBE BSC, Babylon What does membership mean to you? and The Killing Fields by Chris Menges BSC ASC, Although the society has grown from humble beginnings, Kingsman: The Secret Service & The The Third Man by Robert Krasker BSC, Shawshank there remains an intimacy and family atmosphere that I love ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Golden Circle, Rocketman, Free Guy Redemption by Roger Deakins CBE BSC ASC, very much. That essence of hospitality and inclusion seems Atonement by Seamus McGarvey BSC ASC, Captain to be the guiding force, and is what makes me so proud Philips by Barry Ackroyd BSC, Lawrence Of Arabia by to be a member. When I was invited to join I felt it was an Freddie Young OBE BSC, A Matter Of Life And Death by invitation of friendship. In all great friendships differences of Joined: 2015… it’s wonderful to have your Jack Cardiff OBE BSC, Walter Lassaly BSC’s Zorba The opinion and diversity make the bonds stronger. We should work recognised and accepted by the society Greek, Clockwork Orange by Geoff Unsworth OBE BSC be eternally grateful to the founders of the BSC for their and, in turn, I think our employers understand and… everything Peter Biziou BSC ever shot. gift of fraternity, and that spirit endures. how important this is. Your BSC inspirations? I was lucky to work and train under Alex Thomson BSC and Vernon Layton BSC, both Joined: 2009 generous and patient. Chris Menges BSC ASC, Roger Deakins CBE BSC ASC, Peter Biziou Your BSC inspirations? BSC and John Alcott BSC – all pioneers, all I was 16, with a Canon A1 strung around my neck, consistently showing how high the bar really is! when Michael Seresin BSC opened the gate to my future. Roger Deakins CBE BSC ASC demonstrates Your thoughts about cinematography today? that versatility, excellence and humility are The integration of VFX into the world of attributes to cultivate. Freddie Young OBE BSC ASC cinematography is one of the most challenging for Lawrence. Chris Menges BSC ASC for Kes. Jack issues. Sets are becoming cheaper to create Cardiff OBE BSC for confirming that a painter’s eye digitally rather than build, sometimes with no is a valuable asset. Remi Adefarasin OBE BSC for continuity in design. The fact that our work is illustrating the necessity for more cultural diversity. sometimes no longer under our control, means our creative choices can be changed afterwards. Your thoughts about cinematography today? These are all issues we have to overcome as I hope we continue to push boundaries and take we go forward. However, it’s really exciting risks in the pursuit of more original, compelling to be shooting in a time when the advances and resonant images. Digital pathways enable made in digital cinematography allow for such a multiplicity of routes to diverge as instant a wide ranging palette, even allowing the use possibilities from a single source. I hope we remain of old lenses that have been covered in dust true to our roots and use our brushes to make for years. The DI grade can also be a challenge. bold and innovative strokes, from the heart. It The software is so powerful that all parts of is essential to preserve the theatrical viewing |||||||||||||||||||||||||||||||||||||||||||||||||||||||| the image can be manipulated. Whilst this is an experience. In a culture that increasingly prioritises amazing tool, which I keep in mind every step individualism, the ritual and experience of of the process, there can be many voices in a collective viewing touches a primal and essential grading suite, which is not always beneficial. aspect of the human experience. How about cinematography in the future? How about cinematography in the future? JESS HALL BSC ASC I want to see a continuation in the art we see I hope DPs will lead the technological and conceptual today; some of the images we have seen so development of the medium in directions that far are just breathtaking. We need to learn enhance its creative capabilities. That equilibrium how to retain as much control of the images can be found between new technology and the Ghost In The Shell, Transcendence, as possible by making the right decisions wisdom and techniques of the past. That we embrace The Spectacular Now when we prep and shoot, and this can only be narratives outside of our own frame of reference. achieved by an open mind and collaboration. g 1989 1990 1991 f 1992 Peter Biziou BSC wins Oscar, Freddie Francis BSC wins The BSC returns The BSC votes-in its BAFTA and BSC Awards for Oscar and BSC Awards for to Pinewood, first female member, Mississippi Burning (1988). Glory (1989). Under the its spiritual Sue Gibson BSC, Jack Hildyard BSC auspices of Denis Carrigan, home, under the publishes its first honoured with manager of Shepperton auspices of Steve members’ directory BSC Lifetime Studios, the BSC acquires an Jaggs, managing and becomes a Achievement elegant clubroom in the Old director of the founder member Award.
Recommended publications
  • Métier : Directeur De La Photo

    Métier : Directeur De La Photo

    Métier : Directeur de la photo Livre 1.indb 1 28/11/2013 10:39:23 VilMoS ZSiGMond CHriSTopHer doyle MiCHael BallHauS JaMeS wonG Howe ed laCHMan rodriGo prieTo CaleB deSCHanel raoul CouTard ViTTorio SToraro CHriS MenGeS dion BeeBe JaCk CardiFF owen roiZMan Barry aCkroyd ellen kuraS SVen nykViST peTer SuSCHiTZky SeaMuS MCGarVey JaVier aGuirreSaroBe MaTTHew liBaTiQue Freddie younG X-FCVN-LVBK-001-007-US.indd 2 02/08/2011 15:38 Mike Goodridge et Tim Grierson Métier : Directeur de la photo Quand les maîtres du cinéma se racontent Traduit de l’anglais par Jean-Louis Clauzier et Laurence Coutrot 9782100705016-Goodridge-001-005.inddX-FCVN-LVBK-001-007-US.indd 3 3 28/11/201302/08/2011 13:50:32 15:38 L’édition originale de cet ouvrage a été publiée en 2012 au Royaume-Uni par ILEX sous le titre FilmCraft: Cinematography Copyright © 2012 The Ilex Press Limited 210 High Street Lewes East Sussex BN7 2NS © Dunod, Paris, 2014 pour la traduction française ISBN 978-2-10-070501-6 Traduction : Jean-Louis Clauzier et Laurence Coutrot Révision du texte français : Emmanuel Dayan Couverture : Misteratomic Mise en page : Arclémax Imprimé en Chine Toute représentation ou reproduction intégrale ou partielle faite sans le consentement de l’auteur ou de ses ayants droit ou ayants cause est illicite selon le Code de la propriété intellectuelle [Art. L 122-4] et constitue une contrefaçon réprimée par le Code pénal. Seules sont autorisées [Art. L 122-5] les copies ou reproductions strictement réservées à l’usage privé du copiste et non destinées à une utilisation collective, ainsi que les analyses et courtes citations justifiées par le caractère critique, pédagogique ou d’information de l’œuvre à laquelle elles sont incorporées, sous réserve, toutefois, du respect des dispositions des articles L 122-10 et L 122-12 du même Code, relatives à la reproduction par reprographie.
  • BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir

    BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir

    London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation.
  • Pilot Season

    Pilot Season

    Portland State University PDXScholar University Honors Theses University Honors College Spring 2014 Pilot Season Kelly Cousineau Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Cousineau, Kelly, "Pilot Season" (2014). University Honors Theses. Paper 43. https://doi.org/10.15760/honors.77 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Pilot Season by Kelly Cousineau An undergraduate honorsrequirements thesis submitted for the degree in partial of fulfillment of the Bachelor of Arts in University Honors and Film Thesis Adviser William Tate Portland State University 2014 Abstract In the 1930s, two historical figures pioneered the cinematic movement into color technology and theory: Technicolor CEO Herbert Kalmus and Color Director Natalie Kalmus. Through strict licensing policies and creative branding, the husband-and-wife duo led Technicolor in the aesthetic revolution of colorizing Hollywood. However, Technicolor's enormous success, beginning in 1938 with The Wizard of Oz, followed decades of duress on the company. Studios had been reluctant to adopt color due to its high costs and Natalie's commanding presence on set represented a threat to those within the industry who demanded creative license. The discrimination that Natalie faced, while undoubtedly linked to her gender, was more systemically linked to her symbolic representation of Technicolor itself and its transformation of the industry from one based on black-and-white photography to a highly sanctioned world of color photography.
  • Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    Berkeley Art Museum·Pacific Film Archive W in Ter 20 19

    WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P.
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946

    The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946

    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
  • Introduction to DEVS Modeling and Simulation with JAVA: Developing Component-Based Simulation Models

    Introduction to DEVS Modeling and Simulation with JAVA: Developing Component-Based Simulation Models

    Introduction to DEVS Modeling and Simulation with JAVA: Developing Component-Based Simulation Models Bernard P. Zeigler Arizona Center for Integrative Modeling and Simulation Electrical & Computer Enginering College of Engineering and Mines University of Arizona Tucson, Arizona, USA Hessam S. Sarjoughian Arizona Center for Integrative Modeling and Simulation Computer Science & Engineering Fulton School of Engineering Arizona State University Tempe, Arizona, USA January 2005 Copyright by the Authors Draft Version 3 List of Chapters Chapter 1..............................................................................................6 INTRODUCTION TO DEVS MODELING & SIMULATION METHODOLOGY........6 Framework for Modeling and Simulation ..............................................6 Brief Review of the DEVS Concepts ..................................................6 Basic Models .................................................................................8 Coupled Models .............................................................................9 Hierarchical Model Construction .....................................................10 The DEVS Formalism.......................................................................10 Classic DEVS System Specification .................................................10 Summary.......................................................................................12 Chapter 2............................................................................................13 WORKING WITH SIMPLE DEVS
  • Modus Operandi Films and High Point Media Group Present

    Modus Operandi Films and High Point Media Group Present

    Modus Operandi Films and High Point Media Group Present A film by Craig McCall Worldwide Sales: High Point Media Group Contact in Cannes: Residences du Grand Hotel, Cormoran II, 3 rd Floor: Tel: +33 (0) 4 93 38 05 87 London Contact: Tel: +44 20 7424 6870. Fax +44 20 7435 3281 [email protected] CAMERAMAN: The Life & Work of Jack Cardiff page 1 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN: The Life and Work of Jack Cardiff www.jackcardiff.com Contents: - Film Synopsis p 3 - 10 Facts About Jack p 4 - Jack Cardiff Filmography p 5 - Quotes about Jack p 6 - Director’s Notes p 7 - Interviewee’s p 8 - Bio’s of Key Crew p10 - Director's Q&A p14 - Credits p 19 CAMERAMAN: The Life & Work of Jack Cardiff page 2 of 27 © Modus Operandi Films 2010 HP PRESS KIT CAMERAMAN : The Life and Work of Jack Cardiff A Documentary Feature Film Logline: Celebrating the remarkable nine decade career of legendary cinematographer, Jack Cardiff, who provided the canvas for classics like The Red Shoes and The African Queen . Short Synopsis: Jack Cardiff’s career spanned an incredible nine of moving picture’s first ten decades and his work behind the camera altered the look of films forever through his use of Technicolor photography. Craig McCall’s passionate film about the legendary cinematographer reveals a unique figure in British and international cinema. Long Synopsis: Cameraman illuminates a unique figure in British and international cinema, Jack Cardiff, a man whose life and career are inextricably interwoven with the history of cinema spanning nine decades of moving pictures' ten.
  • Va# IMAGO 2012 REPORT A

    Va# IMAGO 2012 REPORT A

    IMAGO 2012 REPORT – BYGDOSZCZ, POLAND I arrived in Bygdoszcz, Poland on a very overcast rainy day on Thursday, November 23, and it remained that way until the day I left, a week later. Primarily I was there to attend the Extraordinary Meeting of IMAGO, but took the opportunity to attend the 20th Anniversary of Camerimage… a true visual feast!! Before I begin, it’s important to remember that the ACS became a part of IMAGO because of the lobbying and the work done by former President, Ted Rayment ACS. It was his “foot in the door” that has made it possible for me to continue and to build on the relationship we have with IMAGO and the member countries, of which there are 47 European countries and 15 Non-European countries. This IMAGO meeting was a non-voting one, and only recommendations from the delegates could be put to the IMAGO Board for further determination, in order to vote on them at the IAGA (AGM) in February. The IMAGO Agenda was a very full one, and we didn’t manage to get through everything that needed to be discussed. I do believe that these meetings need to be scheduled subject to the agenda, and consideration should be given to having a 2-day meeting when required. As former National Secretary, Velinda Wardell ACS was attending Camerimage, I asked her to attend the IMAGO meeting as a second ACS representative. Mark Swadel, who lives and works in the UK, represented the NZCS. There were also around 33 other delegates representing the other Societies, including our very own Peter Hannan ACS BSC who was, on this occasion representing the BSC.
  • Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance

    Between Liminality and Transgression: Experimental Voice in Avant-Garde Performance

    BETWEEN LIMINALITY AND TRANSGRESSION: EXPERIMENTAL VOICE IN AVANT-GARDE PERFORMANCE _________________________________________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Theatre and Film Studies in the University of Canterbury by Emma Johnston ______________________ University of Canterbury 2014 ii Abstract This thesis explores the notion of ‘experimental voice’ in avant-garde performance, in the way it transgresses conventional forms of vocal expression as a means of both extending and enhancing the expressive capabilities of the voice, and reframing the social and political contexts in which these voices are heard. I examine these avant-garde voices in relation to three different liminal contexts in which the voice plays a central role: in ritual vocal expressions, such as Greek lament and Māori karanga, where the voice forms a bridge between the living and the dead; in electroacoustic music and film, where the voice is dissociated from its source body and can be heard to resound somewhere between human and machine; and from a psychoanalytic perspective, where the voice may bring to consciousness the repressed fears and desires of the unconscious. The liminal phase of ritual performance is a time of inherent possibility, where the usual social structures are inverted or subverted, but the liminal is ultimately temporary and conservative. Victor Turner suggests the concept of the ‘liminoid’ as a more transgressive alternative to the liminal, allowing for permanent and lasting social change. It may be in the liminoid realm of avant-garde performance that voices can be reimagined inside the frame of performance, as a means of exploring new forms of expression in life.
  • Parina Nirav Shah

    Parina Nirav Shah

    BANGALORE BEIJING CAPE TOWN CHANDIGARH DELHI GOA HYDERABAD JOHANNESBURG KOLKATA LONDON LOS ANGELES MUMBAI NEW YORK SINGAPORE TORONTO VANCOUVER September 15, 2020 To, To, The National Stock Exchange of India Limited BSE Limited Listing Department, Listing Department, Exchange Plaza, Bandra Kurla Complex Phiroze Jeejebhoy Towers, Bandra East, Dalal Street, Mumbai - 400 051 Mumbai - 400 001 Fax Nos.: 26598237/26598238 Fax Nos.: 22723121/2037/2039 Dear Sir/ Madam, Ref.: Scrip code: BSE — 532748/NSE – PFOCUS Sub.: Presentation to the Analyst / Institutional Investor on Un-audited Financial Results for the quarter ended June 30, 2020 Dear Sir / Madam, Please find enclosed the Presentation to the Analyst / Institutional Investor on Un-audited Financial Results for the quarter ended June 30, 2020. Kindly take the above on your record and acknowledge the receipt of the same. Thanking You, FOR PRIME FOCUS LIMITED PARINA SHAH COMPANY SECRETARY & COMPLIANCE OFFICER Encl.: a/a Prime Focus Limited. Corporate Identity Number (CIN): L92100MH1997PLC108981 Prime Focus House, Linking Road, Opposite Citibank, Khar (West), Mumbai 400 052, India. T: +91 22 6715 5000 www.primefocus.com Investor Presentation September 2020 Safe Harbor Certain statements in this document may be forward-looking statements. Such forward- looking statements are subject to certain risks and uncertainties like regulatory changes, local political or economic developments, and many other factors that could cause our actual results to differ materially from those contemplated by the relevant forward-looking statements. Prime Focus will not be in any way responsible for any action taken based on such statements and undertakes no obligation to publicly update these forward-looking statements to reflect subsequent events or circumstances.
  • Sarah Finlay

    Sarah Finlay

    SARAH FINLAY Production Designer http://www.sarah-finlay.com/ Selected Features: THE FANTASTIC FLITCROFTS – BBC Films – Craig Roberts, director AMMONITE – See-Saw Films – Francis Lee, director *Official Selection – Cannes Film Festival SUPERNOVA – BBC Films – Harry Macqueen, director RIALTO – The Bureau – Peter Mackie Burns, director JULIET NAKED – Lionsgate – Jesse Peretz, director – Judd Apatow, Barry Mendel, Ron Yerxa, Albert Berger, Jeffrey Soros, prods *Official Selection of Sundance Film Festival DISOBEDIENCE – Sony Pictures - Sebastian Lelio, director - Ed Guiney, Frida Torresblanco, Rachel Weisz, producers *Special Presentation - Toronto International Film Festival THE LEVELLING - Wellington Films - Hope Dickson Leach, director - Rachel Robey, Anna Griffin, producers *Official Selection of Toronto International Film Festival *Official Selection: BFI London Film Festival 6 *Nominated: Sutherland Award for Best Debut Feature - BFI London Film Festival 45 YEARS - Glendale Pictures / The Bureau - Andrew Haigh, director - Tristan Goligher, producer *Nominated: Best Actress: Charlotte Rampling - Oscars *Nominated: Outstanding British Film - BAFTA *Winner: Best Actor: Tom Courtenay / Best Actress: Charlotte Rampling - Berlin International Film Festival *Winner: Coup de Coeur - Dinard British Film Festival *Winner: Michael Powell Award for Best British Feature Film - Edinburgh International Film Festival *Winner: British/Irish Film of the Year, Actor of the Year, Actress of the Year – London Critics Circle Film Awards WEEKEND - Glendale
  • Introduction

    Introduction

    CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................