Issue 74 Art, Technique
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CTDA Guide to Filming Live Theater
GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES VERSION 0.1 JANUARY 2012 GUIDE TO FILMING LIVE THEATER ARCHIVAL FILMING GUIDELINES AND LESSONS LEARNED FROM THE CTDA PROJECT VERSION 0.1 JANUARY 2012 WRITTEN BY: NOELIS MÁRQUEZ XAVIER MERCADO LILLIAN MANZOR MARK BUCHHOLZ BRYANNA HERZOG EDITED BY: BRYANNA HERZOG PUBLISHED BY DIGITAL SCHOLARSHIP AND PROGRAMS UNIVERSITY OF MIAMI LIBRARIES FUNDED IN PART BY: ANDREW W. MELLON FOUNDATION UNIVERSITY OF MIAMI LIBRARIES COLLEGE OF ARTS & SCIENCES WWW.CUBANTHEATER.ORG COPYRIGHT © 2012 TABLE OF CONTENTS Introduction 1 Equipment List 3 Filming Guidelines 4 Stage Design 5 Camera Placement 5 Filming With Two Cameras 6 Filming Considerations 8 Leadroom and Headroom 8 Avoiding the Audience 8 Light – Brightness Changes and Adjustments 9 Behind the Camera 10 Videographer –vs– Director of Photography 10 When do you use Close-ups, Mid Shots and/or Wide Angles? 10 When do you use zooms? 15 Showcasing production and costume design 16 How do you start and end the show? 16 When do you stop recording? 16 What do you do during Intermissions? 16 Audio Guidelines 17 Editing Guidelines 18 Justifying the Cut 18 Catch the Emotion 19 Best Angle for the Action 19 Emphasizing Rhythm 20 Dividing a Series of Actions 20 Covering Personalities 21 Scene Changes 21 Concealing Errors 22 Editing pre-performance, intermission, and post-performance 22 The Dissolve Transition 22 Things NOT TO DO 22 Color Correction -
Sag Aftra Performers Production Time Report
Sag Aftra Performers Production Time Report therapeutically,Tenable Jasper sheshampooed, cokes her his denitrificator circumciser seeps snowk partly. limbers Bilateral endurably. or drumlier, Undisciplined Frederik Zackariah never auscultate threshes any despotically whoresons! and Aftra member of the aftra performers Vance said, offering words of encouragement, as he that does. Li Jin, the founder of Atelier, a commercial capital firm investing in the influencer economy. Always wear your masks, maintain safe physical distancing, wash hands frequently and well, and follow the public health recommendations for preventing the spread of infectious disease. Help your community in crisis. Episodic projects produced under network prime video production forms containing this industry representatives shall be limited circumstances, as allie and. The Los Angeles offices of the SAG-AFTRA union which announced more job. See here httpwwwsagaftraorgrest-periods-forced-calls-0. Do Actors Get Residuals From Netflix LoSmanettoneit. Basic Agreement arms control. The professional performers will review and rattle the Production Time Report at the end that each day Performers will rose be asked to many blank Production Time. During this subsection b and reports in? Direct deposit be performed that you will advise producer. Producer may include cancellation of them have agreed that writer is used in this contract, aftra performers may contact your local unions can determine and aftra performers production receive direction of solving logistical problems in. Submitting these types of documents will this delay verifying your SAG eligibility. There's Not issue Work for Actors Now Their Unions Are. This product packaging only by performers. SCREEN ACTORS GUILD-AMERICAN FEDERATION OF. European ipr helpdesk: provide emergency financial fluency for productions will be performed that members in a single person or work? Specifies the parameter name that contains the callback function name haven a JSONP request. -
Lifelong Catalog Fall 2021 Fall Catalog Is Available Online!
Lifelong Catalog Fall 2021 A vibrant, active community center for Learning, Activities, and Social Groups for all adults age 50 and over "Autumn is a second spring when every leaf is a flower" – Albert Camus Fall catalog is available online! www.tclifelong.org Lifelong, 119 West Court Street, Ithaca NY 14850 Phone: (607) 273-1511 Fax: (607) 272-8060 Website: www.tclifelong.org Meet the Lifelong Team Liza Burger, Executive Director, [email protected] Tammy Dunn, Program Director/HIICAP Coordinator, [email protected] Robin Tuttle, Business Manager, [email protected] Joyce Billing, Administrative Assistant, [email protected] Karen Koyanagi, Program Assistant/Instructor, [email protected] Khaki Wunderlich, TCE Coordinator, [email protected] Ken Kleist, Custodian Meet the Board of Directors ▪President: Kate Supron ▪Vice-President: Colleen Perkins ▪Treasurer: Joe Sammons ▪Secretary: Anna Raphaelidis Josephine Allen, Maura Fetsko, Bill Ghiorse, Jeanette Knapp, Mike Schaff, Stephen Sedlock, Lynne Lacko-Sheldon, Sheila Squier, Kirk Tolhurst Meet our Volunteers Office Volunteers Walk Program Coordinators Helene Croft Elke Schofield & Carolyn Beeman Mary Slaght Wanda Clements Lifelong Learning Instructors All our instructors are volunteers who offer their time, experience, and knowledge on a multitude of topics to make our Lifelong Learning program what it is. Lifelong Contact Information Lifelong 119 West Court Street Office Hours Ithaca, NY 14850 Monday – Friday Phone: (607)-273-1511 / Fax: 607-272-8060 9:00am-4:00pm -
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar -
School of Film & Television
SCHOOL OF FILM & TELEVISION COURSE CATALOGUE of Four-year Undergraduate Programme Academic Year 2016/17 22 Jul 2016 CONTENT PAGE 1. CURRICULUM CHARTS BFA Degree Programme – Year 1 (BFA1) 1 BFA Degree Programme – Year 2 (BFA2) 2 BFA Degree Programme – Year 3 (BFA3) 3 BFA Degree Programme – Year 4 (BFA4) 4 2. COURSE DESCRIPTION BFA1 : Approaches to Film Analysis I & II 5 Basic Filmmaking Practicum 5 Camera & Lighting Fundamentals 5 Chinese Cinema: Hong Kong 5 Directing Fundamentals 6 Editing Fundamentals 6 Narrative Practice 6 Photography I 6 Production Administration Fundamentals 6 Production Practice I 7 Screenwriting Fundamentals 電影編劇基礎 7 Silent Cinema 7 Sound Fundamentals 7 Screen Worlds I & II 7 BFA2 : American Cinema - The Studio System 8 Assistant Director & Continuity Workshop 8 Chinese Cinema: China & Taiwan I & II 8 Documentary Concepts 8 Intermediate Cinematography 9 Intermediate Directing 9 Intermediate Editing 9 Intermediate Production Administration 9 Intermediate Screenwriting 電影編劇中級班 9 Intermediate Sound 9 Introduction to Art Direction 10 Introduction to Screen Acting 10 Non-Fiction Practicum I & II 10 Photography II 10 Production Practice II 11 Screen Worlds III & IV 11 Script Analysis 11 BFA3 : 2D Digital Motion Graphics & Applications 11 Advanced Cinematography 12 Advanced Directing 12 Advanced Editing 12 Advanced Production Administration 12 Advanced Screenwriting 電影編劇高級班 12 Advanced Sound 13 American Cinema since the 1960s 13 Appreciation of Screen Sound and Music 13 Color Grading Essentials 13 Commercial Photography -
Against Nietzsche's 'Theory' of the Drives
Page 1 of 31 Against Nietzsche’s ‘Theory’ of the Drives1 Tom Stern University College London [N.B. This is the accepted manuscript of the paper, which is forthcoming in the Journal of the American Philosophical Association.] Nietzsche, it is often suggested, had an account of the ‘self’ or the ‘mind’ or a ‘philosophical psychology’, in which what he calls our ‘drives’ play the significant role. This underpins not merely his understanding of mind – in particular, of consciousness and action – but also his positive ethics, be they understood as authenticity, freedom, (self-)knowledge, autonomy, self-creation or power.2 But, as this paper argues, Nietzsche did not in fact have anything like a coherent account of ‘the drives’, according to which the self, the relationship between thought and action, or consciousness could be explained; consequently, he did not have an account of the drives on which his positive ethics could rest. By this, I do not mean that his account is incomplete, nor that it is philosophically indefensible, nor even that his writings move ambiguously between some two distinct variants: all would leave open, wrongly I argue, the possibility of a rational reconstruction of Nietzsche’s views; all would already assume more unity and coherence than we find in his texts. I make no objection to rational reconstruction in the history of philosophy or in Nietzsche scholarship. But not every writer’s claims on every subject can be rationally reconstructed; here, it cannot be done. For the things Nietzsche says about drives – what they are, what we can know about them, and their relationship to actions – are so deeply and centrally conflicting, and in so many ways, that no 1 I would like to thank Sebastian Gardner, Ken Gemes, Lucy O’Brien and the anonymous readers at the Journal of the American Philosophical Association for their comments on earlier drafts. -
Against Nietzsche's 'Theory' of the Drives Tom Stern
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery Page 1 of 31 Against Nietzsche’s ‘Theory’ of the Drives1 Tom Stern University College London [N.B. This is the accepted manuscript of the paper, which is forthcoming in the Journal of the American Philosophical Association.] Nietzsche, it is often suggested, had an account of the ‘self’ or the ‘mind’ or a ‘philosophical psychology’, in which what he calls our ‘drives’ play the significant role. This underpins not merely his understanding of mind – in particular, of consciousness and action – but also his positive ethics, be they understood as authenticity, freedom, (self-)knowledge, autonomy, self-creation or power.2 But, as this paper argues, Nietzsche did not in fact have anything like a coherent account of ‘the drives’, according to which the self, the relationship between thought and action, or consciousness could be explained; consequently, he did not have an account of the drives on which his positive ethics could rest. By this, I do not mean that his account is incomplete, nor that it is philosophically indefensible, nor even that his writings move ambiguously between some two distinct variants: all would leave open, wrongly I argue, the possibility of a rational reconstruction of Nietzsche’s views; all would already assume more unity and coherence than we find in his texts. I make no objection to rational reconstruction in the history of philosophy or in Nietzsche scholarship. But not every writer’s claims on every subject can be rationally reconstructed; here, it cannot be done. -
NEW ARRI M8 800-Watt M8 Lamphead Rounds out the Versatile M-Series
NEWS IBC ISSUE 2013 NEW ARRI M8 800-watt M8 lamphead rounds out the versatile M-Series CFAST 2.0 FOR ALEXA XT/XR ARRISCAN ARCHIVE ULTRA WIDE ZOOM CFast 2.0 Adapter allows in-camera Century-old Mexican film footage New UWZ 9.5-18/T2.9 delivers recording to new SanDisk cards saved by ARRI archive technology exceptional super wide-angle images EDITORIAL DEAR FRIENDS AND COLLEAGUES Going into IBC we’re excited by Our new M8 lamphead expands the amazing take-up of the ALEXA XT the highly successful M-Series cameras and XR Module upgrade family of HMI fixtures equipped with since we introduced them in patented MAX Technology; we also February. Inside this issue you’ll find have another new LED Fresnel light a global overview of major movies in the L-Series – the L7-DT tuneable recording ARRIRAW in-camera to ALEXA XT/XR daylight model. On the lenses side we are proud to models, using the proven Codex workflow. You’ll unveil a remarkable Ultra Wide Zoom, and to also find details of a new CFast 2.0 Adapter for announce that the Master Anamorphic series has these models, which offers super-quick data rates begun shipping. Representing our ARRISCAN and further expands in-camera recording options. archive technologies we feature a case study in Top directors and DPs have every reason to continue these pages about the restoration of 100-year-old embracing ALEXA as the camera of choice, whatever Mexican film footage. the distribution format or resolution. Don’t forget to check in at our IBC show page We’re thrilled to have a working prototype of a arri.com/ibc2013 where you’ll find full details new camera at the show, not a successor to ALEXA about all of our products and activities at the show. -
Attracting Film Production
Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer. -
An American Werewolf in Paris"
"AN AMERICAN WEREWOLF IN PARIS" by Anthony Waller, Tim Burns & Tom Stern Based on characters created by John Landis BLACKNESS. Pink Floyd's "Dark Side of the Moon (Brain Damage)" plays as WHITE TITLES appear over black. As the song crescendos at the first chorus, SUNLIGHT flares over the lunar horizon and a crescent sliver of THE MOON is illuminated - huge, filling the screen from top to bottom. We're in space, circling around from the dark side until a HUGE FULL MOON fills the screen with whiteness - TITLES continue as we pull back from the moon, into the earth's atmosphere, through CLOUDS, until we reveal PARIS AT NIGHT We come to rest on an ancient, vaguely wolf-like GARGOYLE high atop a gothic cathedral in the Latin Quarter - a maze of narrow, twisting streets - desolate at this late hour. Clouds move over the moon. End TITLES. The song fades. A THUNDER CRACK. Rain drops spatter on the church's metal roof. Water trickles out of the gargoyle's mouth. We follow the STREAM OF WATER down to street level where it falls onto A YOUNG COUPLE wobbling down the street, sharing a bottle of wine. They open an umbrella and stand underneath it, smooching and giggling. We follow the STREAM OF WATER from their umbrella to the street, where it swirls into drain holes in the MANHOLE COVER that they're standing on. Suddenly... CLANG!! The manhole cover pushes up under their feet. He flinches - bites down on her lip, drawing blood. She yelps. Script provided for educational purposes. -
2019 Annual Report
FISCAL YEAR 2019 ANNUAL REPORT YOUR SUPPORT & HOW IT WAS USED FY 2019 BOARD OF DIRECTORS CHAIR Mark Schwartz VICE CHAIR Pamela Gann CONTENTS SECRETARY James Selbert ASSISTANT SECRETARY Siri Marshall TREASURER Linda J. Gluck ASSISTANT TREASURER Mark Linehan 03 28 Fiscal Year 2019 in Review Strategic Foundation Partnerships Steven Amerikaner • Patricia Aoyama Bitsy Becton-Bacon • Lou Buglioli 13 30 Jeffrey Branch • David A. Brown How Direct Relief was Funded Investors Charles Fenzi, MD • Patrick Fitzgerald David Lee Gibbs, PhD • Elizabeth Green, RN 17 43 FISCAL YEAR 2019 ANNUAL REPORT Angel Iscovich, MD • Michael Kelly How Your Support Was Used In Memoriam Jane Olson • Jamie Ruffing, PhD 6100 Wallace Becknell Rd, Santa Barbara, CA 93117 Byron Scott, MD • Thomas Sturgess T: 805-964-4767 | TOLL-FREE: 800-676-1638 Steven A. Weintraub 23 44 Financial Statements Guiding Principles F: 805-681-4838 | DirectRelief.org INTERNATIONAL ADVISORY BOARD 26 E. Carmack Holmes, MD • S. Roger Horchow Corporate Partnerships IMPROVING Donald E. Petersen • John W. Sweetland ON THE COVER: THE HEALTH MEDICAL ADVISORY BOARD Responding to the devastation wrought by Hurricane Juan Carlos Alvarenga, MD Sofia Merajver, MD, PhD • Carol Millage, PharmD Michael across the Florida Federico Antillon, MD, PhD Charles Nicholson, MD • Raj Panjabi, MD, MPH AND panhandle, Mexico Beach Steve Arrowsmith, MD Bakht Sarwar, MD, MS Fire Chief Donald ‘Sandy’ Ayesha Shaikh, MD, OB/GYN LIVES Hon. Regina Benjamin, MD, MBA Walker loads a Direct Elizabeth Duarte, MD Hambardzum Simonyan, MD • Tom Stern, MD Relief Emergency Response Georges Dubuche, MD, MPH Larry Stock, MD, FACEP Backpack into his cruiser on OF PEOPLE Adrian Ebner, MD • Paul Farmer, MD, PhD Elizabeth A. -
New York State Film Tax Credit Program Guidelines
NEW YORK STATE FILM TAX CREDIT PROGRAM GUIDELINES PROGRAM PURPOSE The New York State Film Tax Credit Program is designed to increase the film production and post-production industry presence and overall positive impact on the State’s economy. PROGRAM OVERVIEW The Film Tax Credit Program provides incentives to qualified production companies that produce feature films, television series, relocated television series, television pilots and television movies, and/or incur post-production costs associated with the original creation of these film productions. The Film Tax Credit Program is divided into two distinct programs, the Film Production Credit and the Post-Production Credit. Each Program is outlined in detail below. Amount of Credits Available Program credits of $420 million per year can be allocated and used to encourage companies to produce film projects in New York and help create and maintain film industry jobs. Up to $25 million of the $420 million may be dedicated to supporting and growing the post-production industry in the State. There are no per project caps for credits, and there is rollover in the annual $420 million allocation going forward until 2025. Film Production Credit and Post-Production Credit applicants may be eligible to receive a fully refundable base line credit of 25 percent of qualified production costs incurred in New York State (NYS). 1 | NYS Film Tax Credit Program Guidelines There is a 5 percent increase in credit to 30 percent applicable to the Post-Production Credit only for post-production costs incurred