Costume Designer Costume Designer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Entertainment Sr. No Specialisation Page No 1 Theatre And
L_All_Vocatinal_Ed_Entertainment Sector: Entertainment Sr. No Specialisation Page No 1 Theatre and Stage Craft 02 1 | P a g e COMMUNITY COLLEGE (CC) (Sector - Entertainment - Specialization–Theatre and Stage Craft) CC/ENT/TSC S.No. Certificate Level Vocational Hours 1. Level-I 500 hrs 2. Level-II 800 hrs 3. Level-III 600 hrs 4. Level-IV 700 hrs 5. Level-V 800 hrs Certificate Level- I 1. Theory and Practice-I Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre and Visaul Arts: Development of the Vocabulary of Theatre. Analyze/ study the use of figurative language and imagery in dramatic texts. Art, Painting and Theater The stage – its various parts and different types of staging . proscenium arch theatre, . central staging, . street theatre, . Folk theatre. 2. Creative Expression-I Creating, Visual Arts, Performing, and Participating in Theatre : Drawing Study of two or three natural and geometric forms in pencil with light and shade from a fixed point of view. Use immediate environment, including family, home and surroundings, as source of ideas. Illustrate own thoughts and feelings visually. Painting Exercises of basic design in variation of linear geometric and Rhythmetic shapes in primary and secondary colors to understand designs as organized visual arrangements. Select color according to emotional appeal Basic Acting through drama games and tableaux Drawing, Exercises in pencil with light and shade and in full colour from a fixed point of view. Geometrical forms of objects like cubes, cones, prisms, cylinders and sphere should used Painting, Create art depicting self, family, friends in water and poster colours with colour values. -
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. -
EXPLORING IDENTITY Emilio Sosa L Costume Designer Michael Griffo L
EXPLORING IDENTITY Emilio Sosa l Costume Designer Michael Griffo l Author/Educator ELA, Life Skills, Character Studies Grades l 5, 6, 7, 8, 9, 10 FEATURING EMILIO SOSA • FASHION & BROADWAY COSTUME DESIGNER EXPLORING IDENTITY BACKGROUND ARTIST INSIGHT As a Latino, I’m influenced by the bright colors that’s evident in my Latin culture. I also grew up listening to great Latin music and being surrounded by aunts and uncles in their Sunday best. I can now look back and use those influences in a modern way. I think that style comes from within, not just the clothing you wear. Style doesn’t come with a price tag; it comes from knowing yourself and what works for you. I have a strong belief that hard work and dedication are the keys to success and that talent rises to the top. Any challenges I come across I’ve been able to overcome because of my strong will to succeed. My advice to anyone who aspires to work on Broadway or in the fashion field is to gain as much knowledge as possible. Whether it’s through formal education or internships knowledge is power. —Emilio Sosa, Fashion and theatrical costumer designer ABOUT THE EXPERTS SPECIAL GUEST: Emilio Sosa is a first-generation immigrant from the Santo Domingo, Dominican Republic, and a graduate of the Pratt Institute. He discovered his passion for design when he was 14 years old and has since achieved his goal of becoming an award- winning fashion and costume designer. In 2006 he was the recipient of the TDF’s Irene Sharaff Young Master Award and named Design Virtuoso by American Theatre Magazine in 2003. -
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 -
Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative. -
Sylvan Theatre on the Washington Monument Grounds
Sylvan Theatre on the Washington Monument Grounds Background Source: “DRAFT Cultural Landscape Report: Washington Monument Grounds,” John Milner Associates for the NPS, Dec. 2003 (Rev. March 2008) (pg 2-20) Establishment of the Sylvan Theatre One major addition to the Washington Monument Grounds that would serve as a focus for many future public gatherings was the Sylvan Theatre. In 1916, Alice Pike Barney, an arts patron, approached Col. W.W. Harts, Superintendent of the OPB&G, with the idea of building an outdoor theatre for productions of Shakespeare and other classical plays. This theatre was originally envisioned as a grassy knoll with a screen of trees, and its plan was based on that of an interior theatre, with a main stage, wings, entrance passage and floodlights, spotlights, and flood lights. On June 1, 1917, the Sylvan Theatre was dedicated before a crowd of 15,000 with an opening performance of an allegorical play (figure 2-37)…. The Sylvan Theatre served as the location for many concerts, ceremonies, and speeches on the monument grounds in the early 20th century (figure 2-43). (pg. 2-25) In 1944, a permanent stage was built at the Sylvan Theatre. This stage was four feet tall, rectangular in plan and supported by iron girders (figure 2-70). In 1976, the Sylvan Theatre underwent a major renovation, with the construction of the existing proscenium arch and enclosed dressing rooms. (pg. 2-27-summarized) In advance of the national bicentennial celebrations, a temporary structure (The Kodak Theatre) and a permanent new comfort station were constructed on the southeast corner of the Washington Monument grounds near the Sylvan Theatre in 1976. -
Costume Designer
Katherine Milne Costume Designer. Bio Katherine Milne is a Melbourne based costume designer and stylist with over twenty years of experience across film, television and commercials. Her design credits include Killer Elite starring Jason Statham and Robert De Niro, The Whistleblower, set in China and Africa, starring Tang Wei. Most recently she has just completed filming Liam Neeson’s latest film Blacklight, set in Washington DC. Originally from Auckland New Zealand, Katherine began her career on the cult classic TV series Xena and Hercules. Since then she has worked continuously in the film industry on numerous local and International film productions. Katherine excels at managing large scale departments and budgets. She has significant experience with executing speciality costumes and any stunt action costume requirements. Katherine thrives working in the collaborative creative ecosystem of film and television production , embraces each new design challenge and loves to create authentic characters and their worlds through costume. M: +61 (0) 404983147 E: [email protected] Katherine Milne W: katherinemilne.com Costume Designer. FILM & TV - Experience 1999-2020 BLACKLIGHT - COSTUME DESIGNER Feature Film 2020 Director Mark Williams | Producers , Mark Williams ,Myles Nestel , Paul Currie , Coco Ma | Budget: US$ 46M (est.) REEF BREAK - COSTUME DESIGNER (5 episodes) ABC T.V Series: Touchstone Productions Executive Producers: Poppy Montgomery, Steve Pearlman, Ruthanne Secunda Producer: Guy Louthan THE WHISTLEBLOWER - COSTUME DESIGNER -
SOUND STAGE PRODUCTION REPORT “This Report Reveals a Portion of the Los Angeles Production Picture That Has Until Now Gone Unviewed
SOUND STAGE PRODUCTION REPORT “This report reveals a portion of the Los Angeles production picture that has until now gone unviewed. We hope that the availability of this data, and our plans to expand it through new studio partnerships, will be an asset to business leaders and policymakers, and further public understanding of L.A.’s signature industry and the wide employment and economic benefits it brings.” - Paul Audley, President of FilmL.A. PHOTO: Dmitry Morgan / Shutterstock.com PHOTO: MBS Media Campus PHOTO: Sunset Gower Studios© 6255 W. Sunset Blvd. CREDITS: 12th Floor Supervising Research Analyst: Hollywood, CA 90028 Adrian McDonald Graphic Design: filmla.com Shane Hirschman Photography: @FilmLA Shutterstock FilmLA Stages / studios (as noted) FilmLAinc TABLE OF CONTENTS INTRODUCTION 2 CERTIFIED SOUND STAGES IN GREATER LOS ANGELES 3 OTHER NON-CERTIFIED PRODUCTION SPACES 3 SHOOT DAYS ON STUDIO SOUND STAGES AND BACKLOTS 4 TRENDS IN SOUND STAGE FILMING 5 TRENDS IN BACKLOT FILMING 7 TRENDS IN SOUND STAGE OCCUPANCY 8 PROJECT COUNTS BY PRODUCTION CATEGORY 8 SOUND STAGES AND STUDIO INFRASTRUCTURE IN NORTH AMERICA 9 CONCLUSION 12 INTRODUCTION For more than 20 years, FilmL.A. has conducted an ongoing study of on-location filming in the Greater Los Angeles area. Drawing on data from film permits it coordinates, FilmL.A. publishes detailed quarterly updates on local film production, covering categories like Feature Films, Television Dramas and Commercials, among others. The availability of this data helps inform the film industry, Los Angeles area residents and state and local public officials of the overall health of California’s signature industry. Few other film offices track local film production as thoroughly as FilmL.A does. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Job Title: Theater Technician
JOB TITLE: THEATER TECHNICIAN Classification: Classified Retirement Type: PERS* Salary Range: 31 Revised/Board Approved: October 18, 2004 BASIC FUNCTION: Under the direction of the Director or supervisor, perform skilled and technical duties related to the construction and development of stage sets or costumes; perform technical duties related to sound and lighting system operation. REPRESENTATIVE DUTIES: Construct stage sets, flats, properties or stage costumes. Prepare or modify working plans, drawings and light plots for specific situations. Mix and apply paints and flameproofing to sets. Check the stage and production areas for safety hazards and maintain health and safety standards in these areas, and in operation of scene shop and costume shop equipment. Rig curtains and operate and maintain stage counterweight system. Attend rehearsals, shows and lectures and interpret diagrams or written and verbal information regarding events. Operate stage equipment, lighting and sound systems, digital projection equipment and costume shop or scene shop equipment as required. Demonstrate the correct use of stage equipment to teachers, students and operators. Perform minor repairs and general maintenance on stage-related equipment. Oversee student workers and hourly personnel as assigned. Maintain inventories and other records. Maintain a clean working environment. Perform related duties as assigned. JOB QUALIFICATIONS: Education and Experience: Any combination equivalent to two years of college course work in theater production, stage craft or related field and two years of experience in the construction of sets or stage costumes and the operation of sound and lighting equipment. OTHER QUALIFICATIONS: Knowledge/Areas of Expertise: Methods, equipment and materials used in stage and set design and construction. -
Costume Designer for the Youth Theater Ensemble
Costume Designer for the Youth Theater Ensemble Job Title Costume Designer for TMC’s Youth Theater Ensemble Reporting to Director & Producer Stipend: $350 Hours/Schedule: Starts end of January with Director (See Rehearsal Schedule) Auditions: January 21st - 29th, 2020 Show Dates : May 1st, 2nd & 8th, 2020 The Organization: The Miracle Center's (TMC) mission is to use the performing and visual arts as a tool for personal and professional growth via self-expression for youth and adults. TMC nurtures and encourages the development of the next generation of professional artists by offering them opportunities to perform and exhibit their work. The Miracle Center is a theatre company on the border of the Logan Square and Hermosa communities. Our program is the Youth Theatre Ensemble, and we work with over 50 inner-city teens on three productions throughout the year. What we need is a costume designer is to take the choices our design teens make and compile costumes as close to that as possible.. In terms of the time commitment, we really would only need the costume designers for our initial production meetings, fittings, a few rehearsals to be with the costume students, production meetings and tech rehearsals. You are more than welcome to put more time and energy into the process as our teens could benefit from the mentorship. Job Summary: We are looking for a creative Costume Designer to create costumes and costume props for the actors on stage. As the Costume Designer, you must be very creative and well-versed in different garment types and styles. You should be talented at sketching and see creating clothes as art.