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FICHE TECHNIQUE « MAMA BOBO » by Robin Andelfinger & Ibrahima Seydi 2017, Belgique, France, Sénégal Fiction, Couleur, 17' Réalisation/Direction Robin Andelfinger, Ibrahima Seydi Scénario/Screenwriting Robin Andelfinger, Ibrahima Seydi Assistant réalisateur (Sénégal) Djibril Saliou Ndiaye Assistant director (Senegal) Assistant réalisateur (Belgique) Emmanuel Van Hoof Assistant director (Belgium) Directrice de casting (Sénégal) Mamadou Diallo Cast director (Senegal) Directrice de casting (Belgique) Kis Keya & Emmanuelle Nicot Cast director (Belgium) Interprétation/Cast Mama Bobo Maguette Diakhaté Le petite fille/The little girl Seynabou Ndiaye Faye Le mari de Mama Bobo El Hadji Dieng Mama Bobo’s husband Le conteur/The storyteller Abdoulaye Hane Chauffeur de taxi/Taxi driver Thianar Diéye Fille de Mama Bobo/Mama Bobo’s daughter Amineta Mbaye Forgeron/Blacksmith Mohamadou Fall Ebéniste/Cabinetmaker Mamado Djigal Scripte/Script manager Maimouna Gueye Agence Belge du Court Métrage Chef Opérateur/Cinematographer Benjamin Morel Assistante caméra/Camera assistant Fiona Braillon Ingénieur du son/Sound engineer Lionel Halflants Perchman Mame Abdou Diop Chef décoration/Set designer Bacary Cissé Électricien/Electrician Pape Sarr, Mamadou Doumbia Renfort électro/Assistant electrician El Hadji Gueye, Moustapha Sarr Montage image/Image editing Denis Leborgne Montage et mixage son Guillaume Martin Sound editing and mixing Laurent Navarri Etalonnage/Calibration Régisseur général Thierno Aliou Seydi Chief technical manager Assistant régie plateau Ousmane Diéye Assistant set technical manager Chef Catering/Chief catering Amy Mbow Assistant Catering Daro Diéye, Wouly Diéye Sécurité/Security Cheikh Diéye Producteur délégué (Belgique) Pierre-Yves Le Cunff Associate producer (Belgium) Assistant de production Malick Ndiaye Production assistant Production Replica Wombat Films Agence Belge du Court Métrage .

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List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
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Usc Sca Ctpr 507 Production I -‐ Fall 2011
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VU Resume 111720
VANESSA UHLIG vanessauhlig.com EDUCATION UNIVERSITY OF TEXAS AT AUSTIN Master of Fine Arts, May 2019 Film and Media Production, Moody College of Communication UNIVERSITY OF CALIFORNIA AT DAVIS Bachelor of Arts, Highest Honors, May 2007 English, College of Arts and Sciences SKILLS • Pre-Production: Movie Magic Scheduling, Final Draft, Shot Designer, Adobe Creative Suite • Production: Canon, Sony, Black Magic camera systems; 16mm / 35mm film cameras, field sound recording equipment • Post-Production: Avid Media Composer Certified, Adobe Premiere Pro, Final Cut, Avid Pro Tools, Adobe Audition • Languages: Spanish [proficient], Thai [intermediate], French [intermediate], Kaqchikel Maya [beginning] SELECTED PRODUCTION CREDITS Writer/Director/Producer The Low Season (narrative feature) script in development to be produced and shot in Guatemala Las Cruces (short narrative/documentary hybrid) thesis film, UT Austin [premiered at Austin FF] A Woman Loves (narrative short) screened at UT SXSW Showcase (2018) Jazz for Sleep (narrative short) screened at UT SXSW Showcase (2017) If You Were Going to Leave (short documentary) University of Texas at Austin (2016) A Note (narrative short) screened at CineAid FF and Bangkok Short FF (2015) Writing Department SKAM Austin Season 1 Facebook Watch (2018) [Script Coordinator] Production Panic Season 1 Amazon Studios (2020) [Director’s Assistant - Blocks 2 and 4] SKAM Austin Season 2 Facebook Watch (2018) [Production Assistant] Overachievers (narrative short) Sam Mohney Productions (2019) [Producer and First AD] The Fix (narrative short) Edward Jack Productions, premiered Palm Springs FF (2017) [Producer and First AD] Motorized Subcultures (TV episode) Dragonfly Media/Discovery Channel (2015) [Segment Field Producer] Kong: Skull Island (Thai Unit) Legendary Pictures/Warner Brothers (2015) [Production Assistant] Star Wars: The Last Jedi (Thai Unit) Lucasfilm/Walt Disney Pictures (2015) [Production Assistant] “Bucket List” (TVC) Expedia/Park Pictures d.
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A new report: News from the Editing World Today: Three head editors, Marguerite Renoir, Suzanne de Troye and Marinette Cadix, talk to us about their jobs. To start the series of reports on the profession of the editor in French film, the Technicien du Film has scored a trifecta. At the restaurant of the Billancourt studios, our journalist Jean Fléchet has met three of the most representative head editors of French cinema: Marguerite Renoir, Suzanne de Troye 1 and Marinette Cadix. Suzanne de Troye: We’ve been friends for a long time, we’ve known each other since we started working. Jean Fléchet: How did the three of you come to work in film? Marguerite Renoir: By chance, as far as I’m concerned, or rather, due to my bad disposition2. I worked at Pathé as a colorist trainee. At the time, we were doing color films by applying garishly colored dyes3 straight onto the negatives. In fact, one day I was coloring a Passion of Christ when a storm broke out, and the resulting humidity made my dyes bleed on my film-strip. My department head came along and gave me a nasty talking-to. “Ma’am,” I answered, “instead of yelling at me, you’d better explain why the storm made the colors run.” This act of impertinence was not well received, and I was fired on the spot. I went to speak with the director. He agreed that I was innocent but did not want to contradict my department head, so I was transferred to editing. That was in 1921.
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Production Job Descriptions
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Careers in Film Production Ilms Are More Than Entertainment
From script to screen: Careers in film production ilms are more than entertainment. They inspire, inform, and may even F become part of our culture. And for many people, films also offer jobs and a career path. The glamour of Hollywood and the cre- ativity of filmmaking attract droves of people looking to work on the next big blockbuster— and for good reason. According to the Motion Picture Association of America, box office revenues in the United States and Canada reached $10.8 billion in 2012, a 6-percent increase from 2011. And thanks to advances in technology, it’s never been easier, faster, or more affordable for people to make their own films. But working in this industry is not always as glamorous as it seems. For example, find- ing steady work is difficult and wages are auditioning the actors, and planning how each generally low. A passion for film helps work- scene will be shot. ers overcome these and other challenges. “The Occupations involved in preproduction work is hard,” says supervising sound editor include screenwriters, producers, and direc- Sara Royster Kevin Hill, “so if you love it, you’ll be more tors. and Dennis likely to stick through the tough times.” Vilorio This article describes many of the occupa- Screenwriters tions in film production. The first three sec- Screenwriters write or adapt the film’s story tions describe the typical work duties of and into a script. The story may exist in another training required for key occupations in each form, such as a novel or play, or may be based phase.
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