Admissions in the Fine and Performing Arts
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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 -
College Choices for the Visual and Performing Arts 2011-2012
A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation -
Michael Wiese Productions 2017 2017 Contents
MICHAEL WIESE PRODUCTIONS 2017 2017 CONTENTS NEW TITLES SCREENWRITING/ 25 The Way of Story 6 Producero t Producer — WRITING 25 Elephant Bucks 2nd Edition 19 The Coffeebreak 26 The Virgin’s Promise 7 Romantic Comedies Screenwriter — 2nd Edition 26 Mind Your Business 8 Making it Big in 26 Dan O’Bannon’s Guide to Shorts — 3rd Edition 19 The Hollywood Standard — 2nd Edition Screenplay Structure 9 The Woman in the 27 The Writer’s Advantage Story — 2nd Edition 19 Your Screenplay Sucks! 27 Rewrite — 2nd Edition 10 Writing Subtext — 2nd 19 Cinematic Storytelling Edition 20 Noteso t Screenwriters 27 Forensic Speak 11 Making the Magic 20 Writing the TV Drama 27 Creating Graphic Novels Happen Seriesd — 3r Edition 28 Shakespeare for 12 Crash! Boom! Bang! 20 Riding the Alligator Screenwriters 13 Write! Shoot! Edit! 20 Stealinge Fir from the 28 The Hidden Tools of Comedy 14 Shooting Better Movies Gods — 2nd Edition 28 Writing the Science 15 Make Some Noise 21 Why Does the Screenwriter Cross Fiction Film 16 Suspense With a Camera the Road? 29 Master Shots 17 Filmmaking for 21 Myth and the Movies 29 Master Shots Vol 1 — Change — 2nd Edition 21 And the Best Screenplay 2nd Edition ® 18 Save the Cat! Goes to... 29 Master Shots Vol 2 ® 18 Save the Cat! 21 Horror Screenwriting 29 Master Shots Vol 3 Goeso t the Movies 22 Story Line 18 The Writer’s Journey — 3rd Edition 22 My Story Can Beat Up DIRECTING/ Your Story VISUALIZATION 18 Memo from the Story Dept. 22 Psychology for 30 Directing Actors Screenwriters 30 The Film Director’s 22 Beat by Beat Intuition 23 -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Sampling of Careers Within the Performing Arts
Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043) -
Budget Reports
DEVELOPMENT Development 1100 Story & Screenplay Producers Unit Directors Unit Budget Preparation Accounting Legal Office Overhead Transportation Research Travel/Living Additional Expenses Miscellaneous TOTAL 0 Story & Other Rights 1200 Story Rights Purchase Writers Fees Story Consultant/Editor Secretary Research Typing Duplication Miscellaneous TOTAL 0 Continuity & Treatment 1300 Writer Research Typing Duplication Travel & Living Story Editor Consultants Legal Clearances Secretaries Office Expenses Entertainment Script Timing Miscellaneous TOTAL 0 Producers 1400 Executive Producer Executive Producer Producer Co-Producer Line Producer Supervising Producer Coordinating Producer Associate Producer Production Executive Secretaries Office Expenses Research Packaging Fee Miscellaneous TOTAL 0 Director 1500 Director Directors Assistant Choreographer Dialogue Coach Secretary Storyboard Artist Office Expenses Travel/Living Second Unit Director Miscellaneous TOTAL 0 Cast 1600 Principal Roles Supporting Roles Day Players Stunt Gaffer Assistant Stunt Gaffer Stunt Players Stunt Doubles Utility Stunt Players Casting Expenses Screen Tests Overtime/Turnaround Musicians Looping Second Run Residuals (TV) Welfare Worker/Teacher Rehearsal Expenses Contractuals Miscellaneous TOTAL 0 Above-the-line travel & living 1700 Hotels Travel Per Diem Car Rentals Misc. Expenses TOTAL 0 PRODUCTION Production Staff 2100 Production Manager Unit Production Manager First Assistant Manager 2nd Assistant Manager 2nd 2nd Assistant Other Assistants DGA Trainees Production Associates -
Art/Production Design Department Application Requirements
Art/Production Design Department Thank you for your interest in the Art Department of I.A.T.S.E. Local 212. Please take a few moments to read the following information, which outlines department specific requirements necessary when applying to the Art Department. The different positions within the Art/Production Department include: o Production Designer o Art Director (Head of Department) o Assistant Art Director o Draftsperson/Set Designer o Graphic Artist/Illustrator o Art Department Coordinator and o Trainee Application Requirements For Permittee Status In addition to completing the “Permit Information Package” you must meet the following requirement(s): o A valid Alberta driver’s license, o Have a strong working knowledge of drafting & ability to read drawings, o Have three years professional Design training or work experience, o Strong research abilities, o Freehand drawing ability and o Computer skills in Accounting and/or CADD and or Graphic Computer programs. APPLICANTS ARE STRONGLY RECOMMENDED TO HAVE EXPERIENCE IN ONE OR MORE OF THE FOLLOWING AREAS: o Art Departments in Film, Theatre, and Video Production o Design and Design related fields: o Video/Film and Television Art Direction & Staging o Theatrical Stage Design & Technical Direction o Architectural Design & Technology o Interior Design o Industrial Design o Graphic Design o Other film departments with proven technical skills beneficial to the needs of the Art Department. Your training and experience will help the Head of the Department (HOD) determine which position you are best suited for. Be sure to clearly indicate how you satisfy the above requirements. For example, on your resume provide detailed information about any previous training/experience (list supervisor names, responsibilities etc.) Additionally, please provide copies of any relevant licenses, tickets and/or certificates etc. -
Resume of Kim Bailey “ Feature Projects ”
Local #800 Local #44 Resume of Kim Bailey “ Feature Projects ” ADOD, LLC. 2008-Present, ADOD, LLC. (Artistic Development on Demand) (Los Angeles) C.E.O. Current entrepreneurial venture outside the scope of the entertainment industry. Business model focuses on conceptual business development, development of the brand image along with image consulting, architectural interior design and themed entertainment environments , in-house graphics, development & design of advertisement campaign relating to corporate message and trade show exhibits, product placement, web design, marketing strategies, tools & sales materials, consulting for personnel management of staff, vendors and direction of sales force. Damaged Goods 2012, Serious Damage Productions, LLC. Director: Annie Biggs (Los Angeles - PILOT) Production Designer Hired by: (Executive Producer) Annie Biggs Interfaced with: (All aspects of production) Responsible for complete design and look for all aspects of production. Pranked 2011, Untitled, LLC. Director: Adam Rifkin (Los Angeles) Supervising Art Director Hired by: (Producer) Bernie Gewissler Interfaced with: (Production, Director & Executive Producer) Responsible for complete design and look for all aspects of production. The Wrath of Shatner 2010, Free Enterprise 2, LLC. Director: Robert Burnett (Los Angeles) Supervising Art Director to Production Designer Hired by: (Producer) Jeffrey Cohglan Interfaced with: (Production & Director) Responsible for complete design and look for all aspects of production, took over for Production designer -
TFM 321/621 – Sound Design Fall 2016 Instructor
TFM 321/621 – Sound Design Fall 2016 Instructor: Greg Penetrante • [email protected] • Phone: 619-594-6090 Office: Com-154 Hours: Afternoons between classes Course Description: This is a project-based course-focusing intended to provide the student with a command of production audio and postproduction sound design for motion picture production. Through exercises and projects, students will gain a familiarity with the terminology, facilities, and processes of audio, including recording, location recording, sound editing, sound processing, overall sound design, and mixing. Through hands-on practice, students will also gain a clear understanding of audio production workflow from preproduction, to production, and postproduction. The course assumes you have acquired a foundation in audio from TFM 314 or equivalent. It also requires moderate competency with: computers, navigating the Internet, and especially teamwork. It also calls for good time management skills. Objectives: 1. To become well versed in audio production technology and the terminology associated with the technology and practices of sound design of media production, particularly independent film production. 2. To apply the conceptual understanding of sound design you gain in this class to the actual production of films. This implies learning the operation of recording equipment, the mastery of relevant software, and the set-up of equipment for various production situations such as sound editing, ADR, Foley and mix down. Course Format: This course will consist of one (1) hour of lecture and 2-3 hours of laboratory work each week. Individual projects will require additional work outside of the scheduled course time. You should be prepared to allocate approximately two (2) hours outside of scheduled course times for each class or laboratory hour. -
Downsizing Presentation 14.Cdr
Istanbul conference High school reunion Int. plane Leisureland shuttle bus Leisureland visitors center Leisureland visitors center Leisureland visitors center Leisureland model home Leisureland model home Leisureland keepsake box Downsizing procedure Downsizing procedure Downsizing procedure Downsizing procedure Downsizing procedure Welcome to Leisureland Welcome to Leisureland Leisureland interiors Leisureland lawyer’s office Leisureland workers housing Bus Leisureland transportation Ext. Alondra apartments Alondra apartments Alondra apartments Alondra apartments Ext. Alondra apartments Norwegian fjord Norwegian village Norwegian village Norwegian village Norwegian village Norwegian village Leisureland concepts Leisureland branding Leisureland branding Production Designer Stefania Cella Supervising Art Director Kimberley Zaharko Art Directors Jørgen Stangebye Larsen Karl J. Martin Doug J. Meerdink Set Decorators Patricia Larman Karen Manthey Construction Accountant Lara Alexander Head Painter Peter Aquilina Model Maker Nick Augustyn Set Dresser Ryan Berkinshaw Art Department Coordinator: Additional Photography Jill Blackledge Set Designer Rudy Braun Assistant Art Director Katie Brock Storyboard Artist Doug Brode Leadman Jon J. Bush Art Advisor Nathan Carlson Set Designer Allen Coulter Specialty Prop Designer/Builder Taku Dazai Lead Painter Richard Ewan Props Buyer Ann-Marie Ferney-Tellez Moldmaker Jonathan Graham Concept Artist Ben Grangereau Set Designer Etienne Gravrand Assistant Property Master David Gruer Property Master David Gulick -
Costume Design: Key Questions
Costume Design: Key Questions Costume designer and architect Gabriela Yiaxis worked with Whitechapel Gallery Children's Commission 2015 artist Rivane Neuenschwander on the exhibition The Name of Fear. Gabriela is an experienced freelance costume designer who works worldwide on feature films, advertisements, TV, fashion and music. In this resource she shares key questions and the process of taking a costume from script to screen. Rivane Neuenschwander: The Name of Fear 2015 Costume Design: Key Questions Costume designer Gabriela Yiaxis shares some of her key considerations when developing costumes for feature films. Think about how all of these questions effect what you see on screen, some of these questions can also be applied to developing costume for theatre, advertising campaigns and catwalk collections. Setting What is the story about? Is the film contemporary, futuristic, epic, period? Which exactly era? Does the storyline have a fantasy or realistic approach? How does the director wants to tell the story? Funny, realistic, surreal? Will the film be shot in black and white, sepia, colour? Who is the audience for the finished product? Costume Design: Key Questions Building a character Examples of questions you should ask yourself when they are not on a script . How old are they? Is the character rich or poor? What is their social status? Aristocracy, working class, middle class? What is the characters family background? Are they from a traditional family background, alternative family background, single parent household, grew up in care? What is the characters role in the story? Banker, waitress, doctor, athlete, writer, homeless, musician, salesman, criminal? Consider how the characters personality affects the costume. -
Richard M. Hoover Biography
Richard M. Hoover Biography Richard M. Hoover, - Class of 1965 - 1947 - is an American scenic designer, production designer, and art director for theater, television, and film. The collection represents Hoover's professional work as a scenic designer for theater and as a production designer and art director for television and film. It contains designs, production binders, photographs, sketches, and video recordings related to his career from 1970 to 2011. BIOGRAPHICAL/HISTORICAL INFORMATION Richard Hoover (b. 1947) is an American scenic designer, production designer, and art director for theater, television, and film. He won a Tony Award for scenic design for the Broadway production of Not About Nightingales (1999), and is known for his work on the television show Twin Peaks. Hoover received his undergraduate degree at Knox College, and his graduate degree from the University of Minnesota, where he was a McKnight fellow. While in Minnesota, Hoover apprenticed in set design at the Tyrone Guthrie Theater and began designing sets for various theater companies. In addition to the Guthrie Theater, Hoover has designed sets for The Actors' Gang, the Geva Theater, and the Mark Taper Forum. His other Broadway credit includes After the Fall (2004). In 1982, Hoover began working on films, first as an art director and then later as a production director. His film credits include It Takes Two (1988); Prime Target (1989); Ed Wood (1994); Apt Pupil (1998); Girl, Interrupted (1999); Payback (1999); and The Mothman Prophesies (2002). Hoover developed a long-standing working relationship with actor and director Tim Robbins and was the production director for films Robbins directed including Bob Roberts (1992), Dead Man Walking (1995), and Cradle Will Rock (1999).