Production Crew & Talent

Total Page:16

File Type:pdf, Size:1020Kb

Production Crew & Talent VISIT SANTA BARBARA & FILM COMMISSION Office: (805) 966-9222 Fax: (805) 966-1728 www.filmsantabarbara.com Countywide, Online Location Library with 35,000+ Photos PRODUCTION CREW & TALENT ACTORS / MODELS CAMERA OPERATORS & ASSISTANTS HELLO GORGEOUS MODELS Shannon Loar-Coté (Agent & Owner) GREEN, ERIC J. – Director, Producer, Camera Direct: (805) 689-9613 Operator of reality and documentary Email: [email protected] Direct: (310) 699-4416 Website: www.hellogorgeousmodels.com Email: [email protected] Location: Santa Barbara, CA Location: Santa Barbara, CA About: A full service, licensed model and talent Experience: 5+ years as a director/producer on agency in Santa Barbara, California. reality shows such as Couples Therapy with Dr Clients: Samsung, Oprah Winfrey Network, Pier 1 Jenn on VH-1, Family Therapy on VH-1 and Imports, Hennessy, Kimpton Hotels, Kay Jewelers, Famously Single on E!. 10+ years experience Nationwide Insurance, William Sonoma shooting mostly reality and documentary style. Have shot most seasons of Celebrity Rehab With STEVENS, CINDY – Casting Director Actors Dr. Drew on VH-1, Mobbed on Fox and Food Talent Registry/Kids Casting of Santa Paradise on Travel Channel Have shot with most Barbara County (Owner) ENG style cameras both SD and HD. Direct: (805) 350-0387 Owner of a Canon C100 camera package, LED Email: [email protected] light package and audio gear. About: A full service talent registry for actors with all levels of experience, and production. Connecting MATHIEU, PAUL - Producer / Camera Operator talent with production: film, theater, commercials, Owner of West Beach Films voice over, models, etc. Direct: (805) 448-9261 Email: [email protected] Website: www.westbeachfilms.com ANIMATION DIRECTION Experience: West Beach Films is comprised of a seasoned team of both union and non-union ENGLISH, KEITH - Animation Director production crew, and sources gear and services Screaming Pixels locally whenever available. We are considered local Direct: (805) 729-5911 experts throughout Santa Barbara County - and Email: [email protected] have spent considerable time and resources serving Website: www.screamingpixels.com agencies and end clients between Los Angeles, Location: Santa Barbara, CA Orange County, and San Luis Obispo. Experience: Highest quality 3D character WBF offers pre-production services, live streaming, animation, design, modeling, texturing, lighting and commercial production, and editorial. The best special effects. Full compositing and effects compliments we receive are that we’re the most fun capabilities. and friendly crew on the block! Clients: British Invasion, TLC; Lobo Films; Clients: Disneyland Resorts, Santa Barbara Toonami, Turner Studios. International Film Festival, Visit San Luis Obispo, Travel Zoo RICHMOND, EARL- Camera Operator / Producer DIRECTORS & AST DIRECTORS Richmond Productions, Inc. Direct: (805) 688-2718 ABBOTT, LEE – Producer / Director / DP Email: [email protected] Owner of Endorphin Films Website: www.richmondproductions.com Direct: (213) 400-1566 Location: Solvang, CA Email: [email protected] Experience: HD and Betacam SP specialists, Website: www.endorphinfilms.com marine and marine mammal experts, gyro- Location: Santa Barbara, CA stabilized harnessed systems, helicopter aerials, Experience: Multi-camera scenarios, extreme topside and underwater marine, action sports, stunts, special effects, water productions, documentaries. 25 years of camera/production plus extensive post production work including Web experience in a variety of environments and design and Branding. locations. National Geographic Television/Explorer, Clients: FOX, Lifetime, E!, CMT, ESPN, G4TV, Fine BBC/Planet Ocean, PBS/Life & Times - Emmy Living, Fox Sports, Discovery Channel, National Nominated "Best Documentary".Rwa Films Lampoon, Canon USA, AXS-TV, Netflix, Luxury Life Media SUMNER, BRENT - Camera Operator Studio 8 Direct: (805) 708-4562 BROWNE, DANIEL – 1st AD, PA Email: [email protected] Direct: (805) 403-3282 Website: www.instudio8.com Email: [email protected] Location: Santa Barbara, CA Website: www.serenapaddlesports.com Experience: Varicam, HVX 200 HD, Beta camera Location: Carpinteria, CA operator, motion picture time-lapse unit Experience: Locations, pre-production, production Telepictures McGo Co, Mr. Time-Lapse; North assistance on film, television, print and still. Hollywood Toyota, Red Rocket Prods; Getting the picture, Citizen McCaw. BROCK, MITCHELL - DGA 1st AD, Director Direct: (310) 467-3523 WOODBRIDGE, BILL – Camera Operator Email: [email protected] Direct: (805) 637-8111 Location: Solvang, CA Email: [email protected] Experience: DGA first assistant director and Location: Goleta, CA director. Master at 2nd Units. Credits include: "War Experience: 15 years in L.A. shooting pro, Boys", "The Lucky Ones", "Dead Presidents", collegiate and extreme sports (for networks) on a "Back to the Future", "thirtysomething", "Walker, hard mount and hand-held. Many stage concerts Texas Ranger", "NCIS", "Undeclared", hand-held and on sticks. Location roll-ins (set & "Spaceballs", commercials for Kentucky Fried stage interviews, reality, events) for Dr. Phil, Dr. Chicken, Dodge, and Visa. Adept at scheduling and Drew, Insider, Entertainment Tonight. PSAs, crew management. Skilled at Movie Magic documentaries, news packages, comedy/dramatic Scheduling and Budgeting as well as Final Draft. theatrical. Demo and resume available. Own two Features, episodic, MOWs, and commercials on 150 Arri lights for interviews. Member of IATSE film, digital, etc. Local experience as well as LA, Local 600 in L.A. and listed with IATSE Local 442 in Florida, Utah, New Mexico, Texas, Louisiana, and S.B. Non-union shoots are fine. Also available to many more. Union affiliation: DGA. Also do serve in other capacities. freelance boards and budgets. Honda car commercials. CATERING BURGOON, BROOKS – DP / DIT / 1st AC Direct: (949) 370-3176 CUTTRELL, DIANA – Caterer Email: [email protected] Dining With Di Gourmet Catering Website: www.sogoodpictures.com Direct: (805) 689-3111 Location: Santa Barbara, CA Email: [email protected] Experience: Editor at Kelly Slater Company, TVA at Website: www.diningwithdi.com Rogers Communications, 1st AC at New Wave Location: Santa Barbara Entertainment, 1st AC Subway “Off the Menu” Clients: Ralph Lauren, Lands End, Amex DALLETT, RICHARD - DP PIOZET, TOM – DP (Underwater) Direct: (805) 895-9100 Home Planet Productions Email: [email protected] Direct: (805) 965-9848 Website: www.dallett.com Cell: 818-422-4144 Experience: Panasonic HD Varicam and support Email: [email protected] equipment. Worldwide shooting experience - drama Website: www.homeplanetproductions.com and documentary. Experience: Owner/Operator Sony F900 HDCAMS Clients: Everyday Italian, Teale Edwards; Everyday Panasonic VARICAMS, HDX-900, 3700/PZ 3700, Food, Martha Stewart Living Omnimedia; Djihad XDCAM 800, EX-i/EX-3 & D600 BetaSP.24P. (TV movie), Noe Prods, France. Digital feature films, documentaries, news magazine, and EPK's. FAUNTLEROY, THOMAS – DGA First Asst. Clients: National Geographic; BBC; Warner Bros., Director NBC, ABC, CBS, New Magazines, DateLine, 20/20, Direct: (805) 570-8320 60 Minutes, Nightline, Today, GMA, Oprah, E!, ET. Email: [email protected] Location: Santa Barbara, CA RABIN, HARRY – DP DIR, AD, 2nd Unit, Experience: DGA 1st Assistant Director. On DGA PRODUCER - On the Wave Productions Entertainment, Commercial, and Multi Camera Direct: (805) 886 -2204 Qualification Lists. Email: [email protected] Website: www.onthewaveproductions.com Owner/ JAMES, DYLAN – DP Operator complete production facility with ADR, Direct: (209) 418-4051 Sound studio, Interview suite, edit/post suites. Email: [email protected] Filming land, Aerial (FAA licensed) and Location: Santa Barbara, CA Underwater. Cameras: Sony 4k from A7rIII, A9 to Experience: All camera formats, DSLR, 4K, Cinealta F55 and Fujinon lenses to underwater Underwater, Editing, Aftereffects, Adobe CS. housings, additional resources 26ft Research Vessel & ROV. Experience and clientele: JONES, KEVIN - DP LiveStreaming, Feature and Indie films, Natural ALAMO FILMS History, documentaries, news magazine, and Direct: (805) 965-1753 EPK's. Clients: Universal Studios, Discovery Email: [email protected] Channel, National Geographic; Animal Website: www.alamofilms.com Planet,Weather Channel, BBC, ABC, CBS, NBC, Experience: RED CAM, 35mm, HD, HDV, and 4k 3- News Magazines, Today show, DateLine, 60 D experienced, DP of Multiple Feature Films Owner Minutes, Nightline, , ET, Fusion, FX. Complete RED ONE Camera Package with Easy Rig style Body Cam Extensive Lighting and Grip REINISH, JENNIE – Creative Officer Equipment Clients: ONSTAR, CHANTUESE Tidepool Pictures/Riviera Productions PRODUCTIONS, CDC ATLANTA, etc. Direct: (805) 965-2929 Email: [email protected] LAWSON, JOSH – 1st AD, Editor, Producer, Grip Website: www.tidepoolpictures.com Direct: (928) 899-9675 Experience: Video production, post-production, Email: [email protected] production management/coordination, producer's Experience: Multi-camera format, lighting inside assistant. 15+ years’ experience with corporate, and out, grip, production coordination, Adobe documentary, commercials, wedding, event and editing suite, green screen lighting and production. performance video production and editing. Clients: CNN, CNBC, ABC World News, Ruptly.tv, MILES, LIZ – DGA 1st Assistant Director KMVT
Recommended publications
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • A Person Who Creates Still Photographic Images for the Publicity of Films and Television Programs and Other Photography: Producing Still Images
    BA Still Photography Still photography refers to unit still photographer: a person who creates still photographic images for the publicity of films and television programs and other photography: producing still images. The liberalization, globalisation and opening up of economy has led to the setting up of a host of 24X7 news channels as well as a large number of entertainment channels. Further, with the mindset of Indian masses undergoing sea change, the working in the entertainment Industry is no more a limitation. More and more young men and women are taking to entertainment industry. Courses of Film and Television is driven by the singular desire to create New Media Communicators using cinema and television as a means of dialogue with their world. We aim to provide a global platform for quality media and film professionals. Eligibility Criteria: 10+2 or equivalent in any stream To earn a BA (Hons) in Still Photography, a student has to earn a minimum of 90 credits. Minimum 24 credits are to be earned from Still Photography subjects and the remaining can be taken from any stream. Every student has to attain a minimum of D grade in all courses; a student may however, and repeat or change any course being offered. Notwithstanding, every student must acquire the desired number of credits. The detailed course structure under different categories is given in succeeding pages. Brief description of the course content follows thereafter. Codes Subject Name Credit 16A.101 Creative Writing 4 16A.102 Still Photography 4 16A.103 Media Appreciation
    [Show full text]
  • Cinematography DELIVERY GUIDE Version 1
    Cambridge TECHNICALS LEVEL 3 DIGITAL MEDIA Unit 18 – Cinematography DELIVERY GUIDE Version 1 ocr.org.uk/media CAMBRIDGE TECHNICALS IN DIGITAL MEDIA DIGITAL IN TECHNICALS CAMBRIDGE CONTENTS Introduction 3 Related Activities 4 Key Terms 6 Misconceptions 8 Suggested Activities: Learning Outcome (LO1) 9 Learning Outcome (LO2) 14 Learning Outcome (LO3) 17 Learning Outcome (LO4) 22 Learning Outcome (LO5) 26 LEVEL 3 18 UNIT LEVEL 3 2 CAMBRIDGE TECHNICALS IN DIGITAL MEDIA DIGITAL IN TECHNICALS CAMBRIDGE INTRODUCTION This Delivery Guide has been developed to provide practitioners with a variety of creative and practical ideas to support the delivery of this qualification. The Guide UNIT AIM is a collection of lesson ideas with associated activities, which you may find helpful Cinematography is both an artistic and a technical discipline that has a significant impact as you plan your lessons. on the meaning and aesthetics of a moving image product. Use of artistic lighting techniques and creative use of the camera are therefore vital if a television or film OCR has collaborated with current practitioners to ensure that the ideas put forward in production is going to be successful and memorable. this Delivery Guide are practical, realistic and dynamic. The Guide is structured by learning outcome so you can see how each activity helps you cover the requirements of this unit. By completing this unit, you will learn how to use digital video cameras and digital single- lens reflex cameras (DSLR) (video) in manual mode. Also, you will explore the effect of light We appreciate that practitioners are knowledgeable in relation to what works for them entering the camera and how to light different types of shots for studio and location.
    [Show full text]
  • List of Sunlight Media Collective Members & Board Sunlight Media
    List of Sunlight Media Collective Members & Board Sunlight Media Collective Core Leadership Bios • Dawn Neptune Adams (Penobscot Tribal Member, Racial Justice Consultant to the Peace + Justice Center of Eastern Maine, Wabanaki liaison to Maine Green Independent Party Steering Committee + environmental & Indigenous rights activist). Dawn is a Sunlight Media Collective content advisor, journalist, public speaker, narrator, production assistant, grant writer + event organizer. • Maria Girouard (Penobscot Tribal Member, Historian focused on Maine Indian Land Claims Settlement Act, Coordinator of Wabanaki Health + Wellness at Maine- Wabanaki REACH + environmental & Indigenous rights activist). Maria is a Sunlight Media Collective co-founder, film director, writer, content advisor, public speaker + event organizer. • Meredith DeFrancesco (Radio Journalist of RadioActive on WERU, environmental & Indigenous rights activist). Meredith is a Sunlight Media Collective co- founder, film producer, film director, journalist, organizational & financial management person + event organizer. • Sherri Mitchell (Penobscot Tribal Member, lawyer, environmental & Indigenous rights activist, author, and Director of Land Peace Foundation). Sherri is a Sunlight Media Collective content advisor, writer, grant writer, public speaker + event organizer. • Josh Woodbury (Penobscot Tribal Member, Tribal IT Department and Cultural & Historic Preservation Department, + Filmmaker). Josh is a Sunlight Media Collective cinematographer, film editor, web designer + content
    [Show full text]
  • The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
    Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
    [Show full text]
  • Teacherfight
    #teacherfight Eric Edwards goes bare knuckles (and back to school) for the new Warner Bros. comedy, Fist Fight by Ted Elrick photos by Bob Mahoney 74 Schoolyard brawls have been the stuff of cinematic conflict dating back to classics like The Blackboard Jungle, Rebel Without a Cause and Three O’Clock High. But Fist Fight takes the premise into a new realm when mild- mannered English teacher Charlie Day (It’s Always Sunny in Philadelphia, Horrible Bosses) causes intimidating history teacher Ice Cube (Barbershop, Ride Along, Boyz N the Hood) to get fired on the last day of the school year. Cube’s character (Mr. Strickland) challenges Day (Mr. Campbell) to a fight, after school, and word goes viral as all gather to see the “adults” settle their differences. Rounding out the seasoned cast for this New Line/Warner Bros. comedy are Christina Hendricks (Mad Men), Tracy Morgan (30 Rock), Jillian Bell (Workaholics), Dean Norris (Breaking Bad), and Dennis Haysbert (24).75 Director Richie Keen has honed his comedic sensibilities over “I wanted many years on sitcoms, including multiple episodes of It’s Always Sunny in Philadelphia. He says the script for Fist Fight read like an R-rated John Hughes movie. “I grew up in the Chicago suburbs the feel to where they filmed all of [Hughes’] movies, and I just idolized that guy. I would sneak on the set as a kid when they were filming Ferris Bueller,” Keen recalls. be a little Keen says that once he dug deeper into the script, he envisioned a prison-riot movie with undertones of High Noon.
    [Show full text]
  • Where Is Anne Frank
    WHERE IS ANNE FRANK a film by ARI FOLMAN PURPLE WHALE FILMS, WALKING THE DOG, SAMSA FILM, BRIDGIT FOLMAN FILM GANG, SUBMARINE AMSTERDAM, LE PACTE, DOGHOUSE FILMS and MAGELLAN FILMS present WHERE IS ANNE FRANK un film de ARI FOLMAN INTERNATIONAL SALES: U.S. AND INTERNATIONAL PRESS: FRENCH PRESS: [email protected] [email protected] CAA [email protected] [email protected] www.wildbunch.biz [email protected] TAGLINE Kitty, Anne Frank’s imaginary friend to whom Anne devoted her Diary, magically comes to life in present-day Amsterdam. Kitty sets out on a relentless quest to find Anne Frank. It’s the beginning of an adventurous journey. SYNOPSIS WHERE IS ANNE FRANK begins with a miracle: Kitty, the imaginary friend to whom Anne Frank wrote in her famous Diary, comes to life in present-day Amsterdam. Unaware that 75 years have gone by, Kitty is convinced that if she is alive, then Anne must be alive too. WHERE IS ANNE FRANK tells the story of Kitty’s quest across contemporary Europe to find her beloved friend. Armed with the precious Diary and with help from her friend Peter, who runs a secret shelter for undocumented refugees, Kitty follows Anne’s traces, from the Annex to her tragic end in the Holocaust. Disoriented by our broken world, and the injustices that child refugees endure, Kitty wants to fulfill Anne’s cause. Through her honesty, she presents a message of hope and generosity addressed to future generations. STATEMENT FROM ANNE FRANK FONDS BASEL Shortly after Otto Frank published the Diary of his daughter Anne Frank in 1947 for the first time, he decided to have it adapted for stage and film.
    [Show full text]
  • 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 .
    [Show full text]
  • Location Listing by Category
    Phoenix Film Office - PRODUCTION LISTINGS Camera Operators Name/Company Phone-1Phone-2 Email/WebSite Service Description Elliott, Brendan 480-215-6471 [email protected] Worked on commercials, indie films, and international marketing videos as camera operator, director of photography, grip, and editor. Shoot on Panasonic HPX-500, worked on multiple grip trucks and edit with Final Cut Pro, also using Apple Motion to create motion graphics. Cook, Cary 602-494-2446 602-381-1017 [email protected] Director of photography/camera operator. National/international commercials & features. Crew West Inc./Sat West 888-444-2739 480-367-6888 [email protected] Network quality video production company with experienced ENG & EFP m camera crews specializing in TV news, sports, & corporate video. KU/HD/C- Band satellite trucks & interview studio available for uplink needs. Cheryl Goodyear www.crewwestinc.com Michael Barcless Kucharo, Michael J. 602-253-4888 602-284-8332 [email protected] Director/producer/cameraman. Renfrow, Lawrence 480-985-6900 602-618-2118 Camera operator, gaffer & key grip. Over 20 years experience in feature, TV, commercial and industrial productions. 4th Wall Productions, LLC 602-568-8652 anthony@4thwalltvandfilm. APA member. Feature film, television, video and digital photography. Digital com cinematography, DVD broadcast video production. Anthony Miles www.4thwalltvandfilm.com Arizona Freelance Productions, LLC 480-368-5773 602-919-0836 [email protected] APA member. Camera operator/Director of Photography, Location Sound Mixer. Field production for syndicated TV shows, network news and documentary television programs. Stevan Pope azfreelance.com Barcellos, Matt 602-770-4850 623-939-8737 [email protected] Award winning director/videographer with 20 years of experience in all areas of broadcast, cable and corporate video production.
    [Show full text]
  • Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
    Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
    [Show full text]
  • 3. Master the Camera
    mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included.
    [Show full text]
  • Dr. Katie Bird Curriculum Vitae, Sept 2019
    Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no.
    [Show full text]