Upcoming Production Report May 2019
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CTDA Guide to Filming Live Theater
GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES VERSION 0.1 JANUARY 2012 GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT VERSION 0.1 JANUARY 2012 WRITTEN BY: NOELIS MÁRQUEZ XAVIER MERCADO LILLIAN MANZOR MARK BUCHHOLZ BRYANNA HERZOG EDITED BY: BRYANNA HERZOG PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES FUNDED IN PART BY: ANDREW W. MELLON FOUNDATION UNIVERSITY OF MIAMI LIBRARIES COLLEGE OF ARTS & SCIENCES WWW.CUBANTHEATER.ORG COPYRIGHT © 2012 TABLE OF CONTENTS Introduction 1 Equipment List 3 Filming Guidelines 4 Stage Design 5 Camera Placement 5 Filming With Two Cameras 6 Filming Considerations 8 Leadroom and Headroom 8 Avoiding the Audience 8 Light – Brightness Changes and Adjustments 9 Behind the Camera 10 Videographer –vs– Director of Photography 10 When do you use Close-ups, Mid Shots and/or Wide Angles? 10 When do you use zooms? 15 Showcasing production and costume design 16 How do you start and end the show? 16 When do you stop recording? 16 What do you do during Intermissions? 16 Audio Guidelines 17 Editing Guidelines 18 Justifying the Cut 18 Catch the Emotion 19 Best Angle for the Action 19 Emphasizing Rhythm 20 Dividing a Series of Actions 20 Covering Personalities 21 Scene Changes 21 Concealing Errors 22 Editing pre-performance, intermission, and post-performance 22 The Dissolve Transition 22 Things NOT TO DO 22 Color Correction -
Sag Aftra Performers Production Time Report
Sag Aftra Performers Production Time Report therapeutically,Tenable Jasper sheshampooed, cokes her his denitrificator circumciser seeps snowk partly. limbers Bilateral endurably. or drumlier, Undisciplined Frederik Zackariah never auscultate threshes any despotically whoresons! and Aftra member of the aftra performers Vance said, offering words of encouragement, as he that does. Li Jin, the founder of Atelier, a commercial capital firm investing in the influencer economy. Always wear your masks, maintain safe physical distancing, wash hands frequently and well, and follow the public health recommendations for preventing the spread of infectious disease. Help your community in crisis. Episodic projects produced under network prime video production forms containing this industry representatives shall be limited circumstances, as allie and. The Los Angeles offices of the SAG-AFTRA union which announced more job. See here httpwwwsagaftraorgrest-periods-forced-calls-0. Do Actors Get Residuals From Netflix LoSmanettoneit. Basic Agreement arms control. The professional performers will review and rattle the Production Time Report at the end that each day Performers will rose be asked to many blank Production Time. During this subsection b and reports in? Direct deposit be performed that you will advise producer. Producer may include cancellation of them have agreed that writer is used in this contract, aftra performers may contact your local unions can determine and aftra performers production receive direction of solving logistical problems in. Submitting these types of documents will this delay verifying your SAG eligibility. There's Not issue Work for Actors Now Their Unions Are. This product packaging only by performers. SCREEN ACTORS GUILD-AMERICAN FEDERATION OF. European ipr helpdesk: provide emergency financial fluency for productions will be performed that members in a single person or work? Specifies the parameter name that contains the callback function name haven a JSONP request. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar -
Ethnographic Film-Making in Australia: the First Seventy Years
ETHNOGRAPHIC FILM-MAKING IN AUSTRALIA THE FIRST SEVENTY YEARS (1898-1968) Ian Dunlop Ethnographic film-making is almost as old as cinema itself.1 In 187 7 Edison, in America, perfected his phonograph, the world’s first machine for recording sound — on fragile wax cylinders. He then started experimenting with ways of producing moving pictures. Others in England and France were also experimenting at the same time. Amongst these were the Lumiere brothers of Paris. In 1895 they perfected a projection machine and gave the world’s first public screening. The cinema was born. The same year Felix-Louis Renault filmed a Wolof woman from west Africa making pots at the Exposition Ethnographique de l’Afrique Occidentale in Paris.2 Three years later ethnographic film was being shot in the Torres Strait Islands just north of mainland Australia. This was in 1898 when Alfred Cort Haddon, an English zoologist and anthro pologist, mounted his Cambridge Anthropological Expedition to the Torres Strait. His recording equipment included a wax cylinder sound recorder and a Lumiere camera. The technical genius of the expedition, and the man who apparently used the camera, was Anthony Wilkin.3 It is not known how much film he shot; unfortunately only about four minutes of it still exists. It is the first known ethnographic film to be shot in the field anywhere in the world. It is of course black and white, shot on one of the world’s first cameras, with a handle you had to turn to make the film go rather shakily around. The fragment we have shows several rather posed shots of men dancing and another of men attempting to make fire by friction. -
School of Film & Television
SCHOOL OF FILM & TELEVISION COURSE CATALOGUE of Four-year Undergraduate Programme Academic Year 2016/17 22 Jul 2016 CONTENT PAGE 1. CURRICULUM CHARTS BFA Degree Programme – Year 1 (BFA1) 1 BFA Degree Programme – Year 2 (BFA2) 2 BFA Degree Programme – Year 3 (BFA3) 3 BFA Degree Programme – Year 4 (BFA4) 4 2. COURSE DESCRIPTION BFA1 : Approaches to Film Analysis I & II 5 Basic Filmmaking Practicum 5 Camera & Lighting Fundamentals 5 Chinese Cinema: Hong Kong 5 Directing Fundamentals 6 Editing Fundamentals 6 Narrative Practice 6 Photography I 6 Production Administration Fundamentals 6 Production Practice I 7 Screenwriting Fundamentals 電影編劇基礎 7 Silent Cinema 7 Sound Fundamentals 7 Screen Worlds I & II 7 BFA2 : American Cinema - The Studio System 8 Assistant Director & Continuity Workshop 8 Chinese Cinema: China & Taiwan I & II 8 Documentary Concepts 8 Intermediate Cinematography 9 Intermediate Directing 9 Intermediate Editing 9 Intermediate Production Administration 9 Intermediate Screenwriting 電影編劇中級班 9 Intermediate Sound 9 Introduction to Art Direction 10 Introduction to Screen Acting 10 Non-Fiction Practicum I & II 10 Photography II 10 Production Practice II 11 Screen Worlds III & IV 11 Script Analysis 11 BFA3 : 2D Digital Motion Graphics & Applications 11 Advanced Cinematography 12 Advanced Directing 12 Advanced Editing 12 Advanced Production Administration 12 Advanced Screenwriting 電影編劇高級班 12 Advanced Sound 13 American Cinema since the 1960s 13 Appreciation of Screen Sound and Music 13 Color Grading Essentials 13 Commercial Photography -
Resume Wizard
Expressive Culture: Film Class Code CORE-UA 9750 – 001 Instructor Dr Anne Barnes Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Spring 2016 Expressive Culture: Film Monday 3:00 – 7:00pm (4 hours per week including film screening) February 1 to May 9 Room 302 NYU Sydney Academic Centre 157-161 Gloucester St, The Rocks 2000 Prerequisites None Class How has Australian cinema engaged with significant and often contested historical, political Description and cultural events in the nation’s past? The films in this course offer critical perspectives on the history of colonisation in Australia; the legacies of the Stolen Generations; the controversies surrounding Australia’s role in World War One; as well as Australia’s relationships with its Pacific Asian neighbours. We will focus on films that have marked significant shifts in public consciousness about the past such as Gallipoli (1981), Rabbit-Proof Fence (2002) and Balibo (2009). We will also draw on films that have employed innovative narrative and aesthetic strategies for exploring the relationship between the past and the present such as Ten Canoes (2006) and The Tracker (2002). Throughout the course, students will develop their understanding of the basic methods and concepts of cinema studies. In particular, students will develop a critical vocabulary for analysing how filmmakers have approached the use of memory, testimony, re-enactment, researched detail, allegory and archives across a diverse range of examples. Desired By the end of the course students will be able to: Outcomes • Apply the basic vocabulary of film form. -
Attracting Film Production
Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer. -
Reviewing the Australian Film Industry
CASE PROGRAM 2007-98.1 Reviewing the Australian film industry An indigenous film industry is not about the box office – the French value on culture, diversity, and the value of a mirror on society is a far more relevant model.1 John Maynard, Producer, Romulus My Father Australia is a strange place when it comes to film finance. It’s always been puzzling to me. You speak the same language, you’ve got great production facilities, you’ve got studios down there, you’ve got great locations, and you have some of the biggest stars, but when it comes to actually making movies for the international market, it rarely happens that you have an Australian producer who finances it using Australian money which hasn’t been subsided and makes it as an international film.2 Jared Underwood, Film financier Film investment is probably one of the riskiest investments and even if you go on to Hollywood, less than one in ten films actually go into a profit. Most of the world is independent film making and wherever you go, anywhere in Europe, there's always some sort of subsidy to support an independent film industry.3 Brian Rosen, Chief Executive, Film Finance Corporation After a renaissance in Australian film-making during the 1970s, by 2006 production levels had slumped to their lowest point since the early 1990s. Spending on television drama was in decline and foreign film production had plummeted dramatically from previous years. As private investment was dwindling, financing was increasingly in the hands of the Film This case was written by Marinella Padula, Australia and New Zealand School of Government, for Peter Thompson as a basis for class discussion rather than to illustrate either effective or ineffective handling of a managerial situation. -
2019/20 Annual Report
Annual Report 2019/20 ANNUAL REPORT 2019/20 1 RESPONSIBLE BODY’S DECLARATION In accordance with the Financial Management Act 1994, I am pleased to present Film Victoria’s Annual Report for the year ending 30 June 2020. Ian Robertson AO President Film Victoria August 2020 Contents Role and Vision 4 A Message from Film Victoria’s President 6 A Message from Film Victoria’s CEO 7 Performance 9 Year in Review 11 Strategic Priority One: 13 Position the Victorian screen industry to create high quality, diverse and engaging content Fiction Features 14 Fiction Series 16 Documentary 18 Games 20 Production Attraction and Regional Assistance 22 Developing Skills and Accelerating Career Pathways 25 Fostering and Strengthening Diversity 28 Strategic Priority Two: 31 Promote screen culture Strategic Priority Three: 35 Provide effective and efficient services Governance and Report of Operations 39 Establishment and Function 40 Governance and Organisational Structure 41 Film Victoria’s Board 42 Committees and Assessment Panels 44 Overview of Financial Performance and Position 46 During 2019/20 Employment Related Disclosures 47 Other Disclosures 50 Financial Statements 55 Disclosure Index 81 ANNUAL REPORT 2019/20 3 Role Film Victoria is the State Government agency that provides strategic leadership and assistance to the film, television and digital media sectors of Victoria. Film Victoria invests in projects, businesses and people, and promotes Victoria as a world-class production destination nationally and internationally. The agency works closely with industry and government to position Victoria as a leading centre for technology and innovation through the growth and development of the Victorian screen industry. -
CINEMA in AUSTRALIA an Industry Profile CINEMA in AUSTRALIA: an INDUSTRY PROFILE
CINEMA IN AUSTRALIA an industry profile CINEMA IN AUSTRALIA: AN INDUSTRY PROFILE Acknowledgments Spreading Fictions: Distributing Stories in the Online Age is a three-year Australian Research Council funded Linkage Project [LP100200656] supported by the Australian Broadcasting Corporation (ABC) and Screen Australia. The chief investigators are Jock Given, Professor of Media and Communications, The Swinburne Institute for Social Research, Swinburne University of Technology, Melbourne and Gerard Goggin, Professor of Media and Communications, The University of Sydney. Partner Investigators: Georgie McClean, Manager, Strategy and Research, Screen Australia Michael Brealey, Head of Strategy and Governance, ABC TV This report was researched and written by Jock Given, Rosemary Curtis and Marion McCutcheon. Many thanks to the ABC, Screen Australia and the Australian Research Council for their generous support of the project and to the following organisations for assistance with this report: Australian Film Television and Radio School Library Independent Cinemas Association of Australia [ICAA] IHS Screen Digest Motion Picture Distributors Association of Australia [MPDAA] National Association of Cinema Operators-Australasia [NACO] Rentrak Roy Morgan Research Val Morgan Cinema Network Any views expressed in this report are those of the authors and not necessarily those of the Industry Partners or other organisations. Publication editing and design: Screen Australia Published by The Swinburne Institute, Swinburne University of Technology, PO Box 218 -
1 Bibliography for Ancestral Modern: Australian
Bibliography for Ancestral Modern: Australian Aboriginal Art from the Kaplan & Levi Collection Prepared by Traci Timmons, SAM Librarian Resources for Adults: The Dorothy Stimson Bullitt Library Books and videos are available in the Bullitt Library (Seattle Art Museum, Fifth Floor, South Building). 1. EXHIBITION CATALOGUE: Ancestral Modern: Australian Aboriginal Art: Kaplan & Levi Collection. Pamela McClusky et al. Seattle: New Haven; London: Seattle Art Museum; Yale University Press, 2012. N 7401 M33 A73. 2. Aboriginal & Torres Strait Islander Art: Collection Highlights from the National Gallery of Australia. Canberra, Australian Capital Territory: National Gallery of Australia, 2010. N 7401 C27 2010. 3. Aboriginal Art. Wally Caruana. New York: Thames and Hudson, 1993. DCT N 7401 C2. 4. Aboriginal Art. Howard Morphy. London: Phaidon, 1998. N 7401 M67. 5. Aboriginal Art Papers. Pamela Z. McClusky et al. Various Publishers, 2005. DCT N 7400 M33. This is a gathering of a number of articles on Australian Aboriginal art gathered by SAM Docents. 6. Aboriginal Artists of the Western Desert: A Biographical Dictionary. Vivien Johnson. Roseville East, NSW: Craftsman House: Distributed by Craftsman house in association with G+B Arts, 1994.N 7401 J65. 7. Aboriginal Title and Indigenous Peoples: Canada, Australia, and New Zealand. Louis A. Knafla and Haijo Jan Westra. Vancouver: UBC Press, c2010. K 3248 L36 A93. 8. Ancestral Connections: Art and an Aboriginal System of Knowledge. Howard Morphy. Chicago: University of Chicago Press, 1991. DU 125 M67 A6. 9. Art + Soul: A Journey into the World of Aboriginal Art. Hetti Perkins. Carlton, Victoria: Miegunyah Press, 2010. N 7401 P37. 10. Art + Soul: A Journey into the World of Aboriginal Art (video).