DOCSLIB.ORG

Wfw Specialty Equipment

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wfw Specialty Equipment 10 WFW SPECIALTY EQUIPMENT WFW Aerial OperatorTechnician Mike Darby Placing the Stab WFW SuperTechno 50 Crane on location in Winnipeg for “Beethoven’s C Dome onto a Pan Arri 435 in Northern Quebec Christmas Adventure” –Universal Studios Home Entertainment Prod’s. WFW’s new Supertechno 30 Crane on WFW Moviebird 17 with Stabilized Scorpio on location in Toronto for “Gain” detergent- location in Toronto for a Tim Hortons Radke Films-PM Greg Jones Commercial with Key Grip Chris Atkinson WFW Appoints Rick Perotto as VP, Client Development and David Hardy as VP, Client Services We are pleased to announce the appointments of industry veteran Rick Perotto to the position of Vice President, Business Development and David Hardy to the position of Vice President, Client Services. Rick joined us in April following an illustrious 13-year career as a well-respected business representative and former president of the International Cinematographers Guild, I.A.T.S.E. Local 667. He will report directly to our Chairman and CEO and will be responsible for leading WFW strategic initiatives and sales efforts, focusing on national business development. In 2001, Perotto co-founded FILM ONTARIO and currently serves as Board Secretary of this successful organization through which he regularly promotes film and television “I’m extremely excited to productions within the province. “The prospect of joining such be with William F. White a respected industry player International, for the David brings over ten years of management experience to his new was one that I jumped at. I’m opportunity to contribute and tremendously thrilled to join the role, having served as a Business Agent for NABET 700 CEP, a union make this a greater company. WFW team!” It is truly an honour. The depth of film and television technicians that has serviced the Greater Toronto – David Hardy of talented people within the Area for over 30 years. While at NABET, David was integrally involved company is terrific and I am in the union’s collective bargaining process, as well as training and happy to be part of the team.” membership recruitment. David is also a current board member of the – Rick Perotto cultural careers Council of Ontario and the Toronto Film Board. 2 I WHITE NOISE Summer 2011 WWW.WHITES.COM WILLIAM F. WHITE CENTRE WORLD-CLASS INGENUITY HERE! The future is imminent for William F. White, and with a smoke trail still blazing from our former property – located only a few blocks away – our new world- class WFW Centre is in the business of exceeding industry expectations. We are now situated comfortably on nearly 17 acres of prime real estate, encompassing 338,000 square feet of workspace. William F. White International Inc. occupies nearly half of the building, featuring over 20 full- service loading bays. The other half of our space is also being put to good use – in part by Cinegrip Inc. and Film and Events Solutions, who moved in on April 1st, as well as a slate of production offices which became available for use as of May 1st. WFW Centre is in keeping with our recent Whites Goes Green™ initiative, and is fully equipped with a state-of-the-art energy-efficient and sensory lighting system along with an advanced recycling program. The thrill has truly begun for an exciting new episode in our company’s history. We are also pleased to recognize our long-standing relationship with the Canadian Society of Cinematographers, for whom we have built a new and improved clubhouse located right off our main reception. We’ve come quite a distance since day one, but it’s only just the beginning of an even longer journey that awaits us. With our sights set now on the ‘Official Launch’ of the WFW Centre on June 23, 2011, not only are we bigger and better than ever, we’re going to look good while we do it. WFW Centre central lobby area WHITES INTERACTIVE ON THE MOVE ACROSS CANADA! After an exciting inaugural year, Whites Interactive continues to grow and expand across Canada into Calgary, Vancouver and Halifax. We’ve also added the Chromate System to our arsenal; an innovative green screen technology that uses a reflective grey material and an LED light ring. This incredible new system saves digital filmmakers both time and money, making it a perfect complement for the Whites Interactive program. Whites Interactive has proven to be a dynamic solution for digital filmmakers. Viral Vans have been used for anything from commercials and corporate videos to indie features and transmedia. This month we have a Viral Van going to Sudbury with Casey Walker for the independent feature “A Little Bit Zombie”. Swing by Whites anytime to check out this amazing package today! Anneli Ekborn, Illya Klymkiw & Galen Court on location in Toronto for Sabeth Productions, Furstano - BravoFact Whites Interactive Viral Van on location in Whistler, B.C WHITE NOISE Summer 2011 I 3 VANCOUVER Survivors of a suspension-bridge collapse learn there’s no way you can cheat death. Producer: Richard Brener, exec producer; Erik Holmberg, exec Green screen from the set of producer; Craig Perry, producer; John Rickard. Cinematographer: PM Mathew Hart and Garin Josey Final Destination 5 Brian Pearson, Gaffers: Gaetan Jalbert, Grips: Leon Serginson (grip) Bill Earle (rigging grip), Darren Gregory(rigging grip), Curt Griebel (key rigging grip), Dan Gorval (best boy grip), Andrew Mackie (best boy rigging grip), Kim Olsen(Key Grip), Troy James Sobotka (leadman grip), Pat Waller (rigging grip). Production company: Jellystone Films, New Line Cinema. WFW Factoid: FD5 is the largest Airstar Balloon Setup in Canadian film history with a total of 17 balloon lights! Garin Josey, DOP Brian Pearson, Gaffer John Dekker, Balloon Technician Dylan Paul See If I Care RECOIL A cop turns vigilante after his family is murdered, exacting vengeance on the killers-and then on all criminals who have slipped through the system. Executive Producer: Joseph Nasser, Producer: Jack Nasser. Production Company-Caliber WFW’s Ed Brando with Media/Nasser Group North. Actor Danny Trejo WFW Vancouver Welcomes On location on the set of See If I Care in Vancouver - Garin Josey, John Kuchera (Key Grip), Ed Brando, Ryan Bailey (Gaffer) Corey Lambert We are proud to welcome Corey Lambert to WFW Vancouver in the position of Commercial/Truck Package Manager. Corey joins us with over 16 years of film equipment rental house A father’s quiet retreat to the woods with his two children turns experience servicing Vancouver’s commercial market for the into a fight for survival. past six years with one of our national competitors. He takes pride in developing strong relationships with valued clients Producers: David Calloway, producer; Lori Lewi, producer; Richard Lowell, exec producer; Michael Pavone, producer. Cinematography: and crew and understands the fast-paced, budget-conscious Robert Aschmann, Gaffer: Scott Clark. Production companies: needs of our commercial customers. Corey is well-known for Barricade Productions, WWE Studios. going the distance in customer service and continually strives to exceed expectations on every project. “I’m thrilled that Corey has decided to join our management team here in Vancouver,” said Garin Josey, Assistant GM. “His experience, client relationships, and thorough knowledge PM Simon Richardson, Ed Brando, Key of our equipment and Grip Chris Tate, DP Bob Aschmann-On Ed Brando with Gaffer processes will go a Set of “Barricade” Scott Clark long way.” Garin Josey & Corey Lambert 4 I WHITE NOISE Summer 2011 WWW.WHITES.COM VANCOUVERClient FAIRMONT PACIFICR RIM HOTELeception APRIL 27, 2011 P.M. Producer Christian Bruyere, Producer/The Founder of the Celluloid Social Club/Executive Producer Hot Shot Shorts Paul Armstrong, Manager of Client Producer Catherine Winkler and Mark Ross of Switch United and Relations for WFW and Founder/Executive Producer of Hot Shot Shorts, Ed WFW CSRs Maggie Dumouchel and Chris Jacques Brando, and Director/Producer Jeffery Lando Producer Siobhan McCarthy, Producer Kate Green Key Grip Chris Tate, Producer Grace Gilroy, Comweb/WFW VP Client Services David Hardy, P.M. Yvonne Melville, Producer Gigi Boyd, Gaffer T.C., Comweb/WFW VP Business Development Rick Perotto of WFW Toronto Director Katrin Bowen, WFW Chairman & CEO Paul Bronfman, Director Lulu Keating, Director Ana Valine P.M. Yvonne Melville, WFW Chairman & CEO Paul Bronfman, Producer Grace Gilroy Commercial P.M. Al Cooper, CinequipWhite’s Julie Lambert, Commercial Producer Renee Giesse , Gaffer Prem Marimuthu, Nikki Brown, Gaffer Dept. Manager Corey Lambert, WFW Director of Marketing & Vince Laxton, Art Director Candise Ashley Paul Communications Lowell Schrieder, CSR Maggie Dumouchel WHITE NOISE Summer 2011 I 5 WINNIPEG Echo Planet’s “Planet Echo” is highly successful and is a fun educational children’s show with Charles Clément and André Clément as hosts/producers. L/R: Joao Luis Holowka, Gabriel Levesque, Karen Stermscheg, Khali Wenaus, Winnipeg Gaffer Joao Holowka busy lighting the set Adrienne Huard, André Clément, Joanne Noel, Gilles Noel, Charles Clément, WFW of Echo Planet’s second season of “Planet Echo”, a Winnipeg GM Steve Morrisson, Norman Dugas children’s educational and fun science series. St. John’s Ravenscourt Rock Show in Winnipeg Frantic Films produced “WINNIPEG COMEDY FESTIVAL”, is in its 3rd year and WFW supplied dollies for the live to tape production. L/R PM Gord McLennan, WFW Winnipeg Produced by Jamie Brown and GM Steve Morrisson, Michael Watt-Director, WFW partners with Maximum Entertainment and Christie Shawn Watson. Shaun Johnson-Frantic Films Producer Lites to produce the annual SJR rock show in Winnipeg. Beethoven’s Christmas Adventure A Christmas elf accidentally takes off in Santa’s sleigh, crash lands in a small town, and loses the magic toy bag. Beethoven must rescue the elf, recover the bag from greedy crooks, and return the sleigh to Santa in time to save Christmas.
Load more

Recommended publications
  • Wwe 2016 Trending Schedules - Basis of Presentation
    WWE 2016 TRENDING SCHEDULES - BASIS OF PRESENTATION WWE's operations are organized around four principal activities in ten reportable segments: The ten reportable segments of the Company now include the following: Network, Television, Home Entertainment and Digital Media are individual segments that comprise the Media Division; Live Events; Licensing, Venue Merchandise and WWEShop are individual segments that comprise the Consumer Products Division; WWE Studios and Corporate and Other. Media Division Network Segment revenues consist principally of subscriptions to WWE Network, fees for viewing our pay-per-view programming, and advertising fees. Television Segment revenues consist principally of television rights fees and advertising. Home Entertainment revenues consist principally of sales of WWE produced content via home entertainment platforms, including DVD, Blu-Ray, and subscription outlets. Digital Media revenues consist principally of advertising sales on our websites and third party websites, including YouTube, and sales of various broadband and mobile content. Live Events Revenues consist principally of ticket sales and travel packages for live events. Consumer Products Division Licensing Segment revenues consist principally of royalties or license fees related to various WWE themed products such as video games, toys and apparel. Venue Merchandise revenues consist of sales of merchandise at our live events. WWE Shop revenues consist of sales of merchandise on our websites, including through our WWEShop Internet storefront. WWE Studios Revenues consist of amounts earned from investing in, producing and/or distributing filmed entertainment. Corporate and Other Revenues consist of amounts earned from talent appearances. Expenses include corporate overhead and certain expenses related to sales and marketing, including our international offices, and talent development functions.
    [Show full text]
  • South Africa's Official Selection for the Foreign Film Oscars 2006
    Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos.
    [Show full text]
  • CA Chart of Accts Film
    CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication
    [Show full text]
  • ALLISA SWANSON Costume Designer
    ALLISA SWANSON Costume Designer https://www.allisaswanson.com/ Selected Television: FIREFLY LANE (Pilot, S1&2) – Netflix / Brightlight Pictures – Maggie Friedman, creator TURNER & HOOCH (Pilot, S1) – 20th Century Fox / Disney+ – Matt Nix, writer – McG, pilot dir. ALIVE (Pilot) – CBS Studios – Uta Briesewitz, director ANOTHER LIFE (Pilot, S1) – Netflix / Halfire Entertainment – Aaron Martin, creator ONCE UPON A TIME (S7 eps. 716-722) – Disney/ABC TV – Edward Kitsis & Adam Horowitz, creators *NOMINATED, Excellence in Costume Design in TV – Sci-Fi/Fantasy - CAFTCAD Awards THE 100 (S3 + S4) – Alloy Entertainment / Warner Bros. / The CW – Jason Rothenberg, creator DEAD OF SUMMER (Pilot, S1) Disney / ABC / Freeform – Ian Goldberg, Adam Horowitz & Eddy Kitsis, creators MORTAL KOMBAT: LEGACY (Mini Series) – Warner Bros. – Kevin Tancharoen, director BEYOND SHERWOOD (TV Movie) – SyFy / Starz – Peter DeLuise, director KNIGHTS OF BLOODSTEEL (Mini-Series) – SyFy / Reunion Pictures – Phillip Spink, director SEA BEAST (TV Movie) – SyFy / NBC Universal TV – Paul Ziller, director EDGEMONT (S1 - S5) – CBC / Water Street Pictures / Fox Family Channel – Ian Weir, creator Selected Features: COFFEE & KAREEM – Netflix / Pacific Electric Picture Company – Michael Dowse, director GOOD BOYS (Addt’l Photo. )– Universal / Good Universe / Point Grey Pictures – Gene Stupnitsky, dir. DARC – Netflix / JRN Productions – Nick Powell, director THE UNSPOKEN – Lighthouse Pictures / Paladin – Sheldon Wilson, director THE MARINE: HOMEFRONT – WWE Studios – Scott Wiper, director ICARUS/THE KILLING MACHINE – Cinetel Films – Dolph Lundgren, director SPACE BUDDIES – Walt Disney Home Entertainment – Robert Vince, director DANCING TREES – NGN Productions – Anne Wheeler, director THE BETRAYED – MGM – Amanda Gusack, director SNOW BUDDIES – Walt Disney Home Entertainment – Robert Vince, director BLONDE & BLONDER – Rigel Entertainment – Bob Clark, director CHESTNUT: HERO OF CENTRAL PARK – Miramax / Keystone Entertainment – Robert Vince, dir.
    [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]
  • Usc Sca Ctpr 507 Production I -‐ Fall 2011
    USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
    [Show full text]
  • Trevor Morris
    TREVOR MORRIS COMPOSER Trevor Morris is one of the most prolific and versatile composers in Hollywood. He has scored music for numerous feature films and won two EMMY awards for outstanding composition for his work in Television. Internationally renowned for his music on The Tudors, The Borgias, Vikings and the hit NBC television series Taken, Trevor is a stylistically and musically inventive soundtrack creator. Trevor’s unique musical voice can be heard on his recent film scores which include The Delicacy, Hunter Killer, Asura, Olympus Has Fallen, London Has Fallen, and Immortals. And further Television compositions including Another Life, Condor, Castlevania, The Pillars oF the Earth for Tony and Ridley Scott, Emerald City and Iron Fist for Marvel Television. Trevor has also worked as a co-producer/ conductor/ orchestrator on films including Black Hawk Down, The Last Samurai, The Ring Two, Pirates of the Caribbean, and Batman Begins and collaborated with Tony and Ridley Scott, Neil Jordan, Luc Besson, Jerry Bruckheimer, Antoine Fuqua, Tarsem Singh Dandwar, as well as composers James Newton Howard and Hans Zimmer. Trevor is also a Concert Conductor, conducting his music in live concert performances around the globe, including Film Music Festivals in Cordoba Spain, Tenerife Spain, Los Angeles, and Krakow Poland where he conducted a 100-piece orchestra and choir for over 12,000 fans. Trevor has been nominated 5 times for the prestigious EMMY awards, and won twice. As well as being nominated at the World Soundtrack Awards in Ghent for the ‘Discovery of the Year ‘composer award for the film Immortals. Trevor is a British/Canadian dual citizen, based in Los Angeles.
    [Show full text]
  • The Still Photographer
    _____________________________________________________________________________ ______ The Still Photographer (Stills/Portrait Photographer) by Kim Gottlieb-Walker, Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen Duties The Still/Portrait Photographer's primary job is to interpret the project in single frames which accurately represent the story, production value, stars, and feeling of the show. These images are used to publicize, entice, and seduce the potential audience into watching the show. Whenever the public is exposed to images other than video or film regarding a show, they must be shot by the unit still photographer. The still person will work both during actual filming/taping, during rehearsals, on or off the set. He or she will shoot available light but is also capable of doing fully lit shoots with either his own lighting or in conjunction with production. More specifically, the still photographer takes production stills that the publicity department can use to promote the film or television show in press kits and various print media and the increasingly important DVD stills galleries. This includes characteristic shots of each scene, shots which show the actors acting together, shots which give a feeling of the look and atmosphere of the show, good character shots of the actors, shots of the director directing, special effects being rigged, special make-up being created, anything which could be supplied to the regular or genre press or used later on the DVD to promote interest in and expand knowledge about a production. But beyond that, because the Still Photographer is the only person on the set authorized to take photographs, he or she may, if time allows, serve some of the photographic needs of the crew.
    [Show full text]
  • Glossary of Filmmaker Terms
    Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
    [Show full text]
  • L'effet Steadicam
    NEWS FOR OPERATORS AND OWNERS ~ \ Pour En Finir Avec "L'effet Report from Steadicam" South Africa - - - -------- - -------------- ------ by Jean Marc Bringuier to the already abundant range of Chris faces many of the same devices aimed at gliding a camera in problems we all do, plus a few that The complete article originally space. are unique to his troubled land. appeared in Cahiers Du Cinema . The only va lid use offilm We've talked many times over the last In this excerpt , Jean Mar c has equipment, ho wever sophisticated or f ew years , including last spring when exci ting, is to help tell a story or instill [ was in South Africa. -Ed. given us a Gallic feast ofideas a visual atmosphere. It does requ ire _. _- . ~ ----- that are useful f or discussions with individuals to stru ggle with it. I'm not operators, novices, and producers. ju st hinting at the sweat dripping from Ch r is Haarhoff: I recently -Ed . the operator's face (nor at the produ c­ alam agated my Stead icam with a great tion manager's pallor. ..) for Cinem a rental house down here, the Movie Panaglide and Steadicam are will always be a team sport. It was Camera Company. They were unable tools a filmmaker may use to stabilize certainly not the dollies used by to resurect their own Steadicam, a some of his views of the world. They Hitchcock which created the well­ Mod el II, and so I joined forces with are expected to free the creators' known suspense, through some hidd en their ow n in house ope rator, Gi lbert minds of several old constraints of the secret of their technology, but indeed Reed , thus reinforcin g the we ll held traditional and subtle art of dealin g the inimitable style of this Aristoc rat Stead icarn notion that unity is with the logistics of moving a film of Vision.
    [Show full text]
  • Starter Pack Helping New* Film Societies and Community Film Groups Find the Right Film for Their Audiences
    STARTER PACK HELPING NEW* FILM SOCIETIES AND COMMUNITY FILM GROUPS FIND THE RIGHT FILM FOR THEIR AUDIENCES CALLING NEW* FILM SOCIETIES AND COMMUNITY FILM GROUPS... CHOOSE THREE SCREEN EACH USE YOUR FILMS FROM OUR OF THE FILMS FINDINGS TO LIBRARY OF OVER AND SURVEY PLAN A 13,000 TITLES YOUR TAILORED FILM FOR AN AUDIENCE PROGRAMME INTRODUCTORY1 FOR THEIR 2 FOR YOUR 3 PRICE* PREFERENCES COMMUNITY * Please refer to the ‘Legal Stuff’ section on page 2 for further information and full terms DIGITAL E NTERTAINMENTTE CHNOLOGY INTRODUCING THE STARTER PACK We understand that establishing the right film schedule for a new film society or community film group can be challenging, as well as a big financial commitment. That’s why we’ve launched our Starter Pack - to help new organisations find their feet and discover whether a film screening is the right one for them and their audience. Available to film societies and community film groups who have set up a Filmbankmedia account within the last 12 months, the Starter Pack provides an exciting introduction to our diverse range of content on offer and available for film screenings. After creating an account at Filmbankmedia.com/setup, organisations have the opportunity to select 3 films from our film library for their first 3 screenings, at a special introductory price. PRICING The Starter Pack is available on a Commercial or Non-Commercial basis: NON - COMMERCIAL SCREENINGS COMMERCIAL SCREENINGS • Select 3 films from our film library for non-commercial • Select 3 films from our film library for commercial screenings. screenings. • Commercial pricing will fall under a reduced minimum • Invoicing will take place on the day of the screening of each guarantee of £50+VAT or 35% of the total Box Offfice returns title (£50+VAT per title).
    [Show full text]
  • REPORT of INDEPENDENT REGISTERED PUBLIC ACCOUNTING FIRM to the Board of Directors and Stockholders of World Wrestling Entertainment, Inc
    TO OUR SHAREHOLDERS few years ago, we began executing a bold strategy to transform WWE’s business and provide a foundation for significant long-term growth. Our financial and operational performance in 2015 proves that this strategy is not only working; it is delivering impressive results. We achieved record revenue of $659 million, an increase of 21%, reflecting record contributions from our key businesses: WWE Network, Television, Live Events, and Consumer Products. Our focus on global growth is also paying off – international revenue hit an all-time high, increasing 46% to $170 million, or 26% of overall sales. WWE’s strong, top-line growth translated into significantly improved bottom-line performance, with our Adjusted OIBDA increasing to $69 million, representing a 10% Adjusted operating margin. WWE’s total shareholder return of 48% (including $36 million dividend payout) outpaced the majority of our entertainment peers and key market benchmarks, such as the S&P 500 and the Russell 2000. Recognizing WWE’s industry leadership, earnings growth, and the long-term potential of our global business, WWE was added to the S&P SmallCap 600 Index. We are proud that we accomplished what we set out to do – increasing the monetization of our content by leveraging our position as a global media enterprise uniquely engaged with our fans across traditional television, direct-to- consumer (WWE Network), and digital and social platforms. We enter 2016 with significant opportunities ahead and strong operating momentum. global brand strength: record engagement across platforms The consumption of WWE content reached unprecedented levels across television, direct-to- consumer (WWE Network), and digital and social platforms, which serve as the pillars of our future growth.
    [Show full text]