DOCSLIB.ORG

Washington, Thursday, November 16, 1944

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Washington, Thursday, November 16, 1944 A, UTTEBA r'u £ SCRIPTA % EDERA! REGISTER O s «4? 1 9 3 4 VOLUME 9 NUMBER 229 Washington, Thursday, November 16, 1944 The President Sec. CONTENTS 12.301 Extent of regulations. 12.302 Definitions. THE PRESIDENT 12.303 Retention preference classification. EXECUTIVE ORDER 9500 12.304 Completion of employee records. E xecutive Order: Pa#e 12.305 Determination of competitive area. Trust periods on Indian lands E xtension op T rust P eriods on I ndian 12.306 Special rule relating to consolida­ expiring during calendar Lands E xpiring D uring the Calendar tions and mergers. year 1945, extension of___ 13699 Y ear 1945 12.307 Compilation of retention register. 12.308 Sequence of selection. REGULATIONS AND NOTICES By virtue of and pursuant to the au­ 12.309 Actions. thority vested in me by section 5 of 12.310 Notice to employees. Civil Service Commission: the act of February 8, 1887, 24 Stat. 888, 12.311 Reports to the Commission. Reductions in force, retention 389, by the act of June 21, 1906, 34 Stat. 12.312 Special rules on liquidation. preference regulations___ _ 13699 325, 326, and by the act of March 2,1917, 12.313 Appeals. 12.314 Actions disapproved toy the Commis­ Coast G uard: 39 Stat. 969, 976, and other applicable sion. Approval of equipment:________ 13733 provisions of law, it is ordered that the 12.315 Effective date. Tank barges on Gulf intra­ periods of trust applying to Indian lands, coastal waterway, vessels whether of a tribal or individual status, Authority: §§ 12.301 to 12.315, inclusive, Issued under authority of sec. 12 of Veter­ towing; waiver of naviga­ which, unless extended, will expire dur­ ans’ Preference Act of June 27, 1944, Pub. 359, tion and vessel inspection ing the calendar year 1945, be, and they 78th Cong., 2d Sess. (58 Stat. 387; 5 U.S.C. laws__________________ 13720 are hereby, extended for a further period 861) Commodity Credit Corporation: of twenty-five years from the date on Wheat export program, prices which any such trust would otherwise § 12.301 Extent of regulations. These and differentials________ 13733 expire. regulations establish degrees of reten­ Flour_________________ 13735 This order is not intended to apply tion preference and uniform rules for reductions in force. They apply to all F ederal Communications Commis­ to any case in which the Congress has sio n : specifically reserved to itself authority to civilian employees in the e x e c u t i v e branch of the Federal Government, and Hearing, Newark Broadcasting extend the period of trust on tribal or Co________________ 13721 individual Indian lands. in the municipal government of the Dis­ trict of Columbia, except those whose F ederal P ower Commission: F ranklin D R oosevelt appointments are required to be ap­ Hearings, etc.: proved by the Senate, and those who are Kentucky Natural Gas Corp_ 13722 T he W hite H ouse, Wisconsin Southern Gas Co_ 13722 November 14, 1944, appointed by the President of the United States. F ederal T radé Commission: [F. R. Doc. 44-17506; Filed, Nov. 15/1944; Hearings, etc.: 11:56 a.m.] y § 12.302 Definitions. For the purpose Logan Garment Co., et al__ 13722 of these regulations, definitions are given Webster University _____ 13722 for words, terms, and phrases as follows: F ish and W ildlife Service: Regulations (a) “Reduction in force” means the Southeastern Alaska area fish­ involuntary separation from the rolls of eries other than salmon; a department, or furlough in excess of sableflsh, closed season 13721 ninety days, of one or more employees TITLE 5—ADMINISTRATIVE F oreign E conomic Administration : in order to reduce personnel. Reduc­ Blanket license, general provi­ PERSONNEL tion of personnel may have to be made sions; miscellaneous com­ Chapter I—Civil Service Commission because of lack of funds, personnel ceil­ modities_______________ 13705 ings, reorganization, decrease of work, to Prohibited exportations, mis­ P art 12—R emovals and R eductions make a position available for a former cellaneous commodities___ 13705 employee with established reemployment Shipment of licensed exports RETENTION PREFERENCE REGULATIONS FOR or restoration rights, or for other rea­ USE IN REDUCTIONS IN FORCE to Middle East destina­ sons. However, the term does not apply tions _________________ 13704 By virtue of the authority vested in the to (1) termination of temporary ap­ I nterstate Commerce Commission : Commission by the Veterans’ Preference pointments limited to one year or less, Cotton shipments, appointment Act of June 27, 1944, the following regu­ (2) termination of appointments on a of permit agents______ 13722 lations are promulgated and the regula­ when-actually-employed (WAE) basis, National H ousing Agency: tions approved July 31, 1944 governing (3) retirement of employees, or (4) sep­ Public war housing, occupancy; reductions in force (9 F.R. 9575) are arations for unsatisfactory service. eligibility______________ 13703 hereby revoked as of December 1,1944. (Continued on next page) (Continued on next page) 13699 13700 FEDERAL REGISTER, Thursday, November 1944 CONTENTS—Continued (b) “Retention groups” and “sub­ ,Ä\ groups” mean classes of employees en­ O ffice of P rice Administration— titled to the same degree of retention Continued. PaS® preference on the basis of tenure of fedemlipegister Lobster, cooked; Mexico (MIPR, employment and veteran preference. •V . |»** ¿ y Order 57)______________ 13725 (c) “Retention credits” are credits for Maximum price regulations, length of service and efficiency ratings in procedure (Rev. Procedural Published daily, except Sundays, Mondays, ^determining retention order in each re­ fend days following legal holidays, by the Reg. 1, Am. 10)__________ 13715 tention subgroup. They are computed Division of the Federal Register, The National Oil burner and stoker services by allowing one point for each full year Archives, pursuant to the authority contained (RMPR 165, 2d Rev. Supp. of Federal government service and 80 in the Federal Register Act, approved Jujy 26, Service Reg. 19)____-----------13716 points for a “Good”, 88 points for a “Very 1935 (49 Stat. 500, as amended; 44 U.S.C., Pipe, reusable iron and steel and Good”, and 96 points for an “Excellent” ch. 8B), under regulations prescribed by the used structural (RMPR 230, efficiency rating. Administrative Committee, approved by the Am. 2)__________________13715 (d) “Federal government service” President. Distribution is made only by the Pulpwood, Eastern Virgipia and Superintendent of Documents, Government means the total of all periods of service Printing Office, Washington, D. C. North Carolina (MPR 437, eligible for consideration for civil service The regulatory material appearing herein is Am. 2)__________________13716 retirement purposes, without regard to keyed to the Code of Federal Regulations, Regional and district office whether the employee is eligible or will which is published, under 50 titles, pursuant orders: be eligible actually to receive retirement to section 11 of the Federal Register Act, as Firewood, Maine--------------- 13725 benefits. All active military service is amended June 19, 1937. Fruits and vegetables, fresh; counted whether or not veteran prefer­ The F ederal R egister will be furnished by Green Bay, Wis., area— 13728 mail to subscribers, free of postage, for $1.50 ence is given therefor or whether it is per month or $15.00 per year, payable in ad­ Milk, fluid: eligible to be considered for civil service vance. The charge for individual copies Lee and Russell Counties, retirement purposes. Total service shall (minimum 15tf) varies in proportion to the Ala________________ 13727 consist only of full years of creditable size of the issue. Remit check or money Vermont________________ 13725 servicq, but fractions of a year, shall be order,' made payable to the Superintendent Solid fuels, Superior, Wis., considered in arriving at the total. of Documents, directly to the Government area______ 1_________ 13729 (e) “Efficiency rating” means (I) for Printing Office, Washington, D. C. Wood rosin size (Rev. SR 14, employees paid under the compensation There are no restrictions on the republica­ Am. 188)_______________ 13716 schedules of the Classification Act of tio n of material appearing in the F ederal S ecurities and E xchange Commis­ R egister. 1923 as amended, or of Executive Order sio n : No. 6746, the current official efficiency Hearings, etc.: rating under the Uniform Efficiency Rat­ NOTICE American Light and Trac­ ing System; and (2) for other employees tion Co., et al_------------- 13730 the current efficiency rating under an The Cumulative Supplement to Associated Utilities Corp., and efficiency rating system which is in gen­ the Code of Federal Regulations, Gas and Electric Associ­ eral compliance with the uniform sys­ covering the period from June 2, ates_________________ 13730 tem. Keyes Fibre Co___________ 13732 Administratively adopted efficiency 1938, through June 1, 1943, may be New Orleans Public Service rating systems not in general compliance obtained from the Superintendent Inc., and Electric Power with the uniform system may be used for of Documents, Government Printing & Light Corp_________ 13731 determining retention credits with the Office, at $3.00 per unit. The follow­ Northern Indiana Public Serv­ prior approval of the Commission. ing are now available : ice Co., et al__________ 13732 (f) “Veteran preference employee” Providentia, Ltd., et al_____ 13732 means an employee entitled to veteran Book T: Titles 1-3 (Presidential doc­ Roberts Public Markets, Inc_ 13732 preference under the Veterans’ Prefer­ uments) with tables and index. United Light and Power Co., ence Act of 1944. Book 2: Titles 4-9, with index. et al_________________ 13731 (g) “Department” means an entire Book 3 : Titles 10-17, with index. W ar F ood Administration: executive department, p a r e n t organiza- Milk, dried-skim (WFO 54-4, ' tion with constituent agencies, independ­ Book 4 : Titles 18-25, with index. Am. 6)____ 13703 ent establishment, government-owned or Book 5, Part 1: Title 26, Parts 2-178.
Load more

Recommended publications
  • Syllabus Fall 2007
    USC School of Cinematic Arts Production Planning CTPR 425 SYLLABUS Fall 2007 Instuctor: Robert Brown CTPR 425 Production Planning Syllabus How do you turn a script into a film? This course will attempt to answer that question by examining the process of production planning for film. By the end of the semester, each student should not only have a conceptual grasp of how to line, breakdown, schedule, and budget a screenplay, but also have the practical skill to actually do it. Our goal, however, is not to make you into professional production managers, but rather to introduce you to the basic principles of production planning. Although, there are differences in scale and detail, the processes involved are essentially the same whether one is making a major studio feature, a low-budget feature, a movie-of-the-week, an episodic television show, an educational film, an industrial film, or a student film. Using a script from a one-hour episodic television show, each class member will line a script, make a production board, a day-out-of-days, and develop a shooting schedule. The class will also examine actual film budgets for both a large studio release and a low budget independent, account by account, in order to reach an understanding of the various elements that go into the making of a film. Grading Criteria In an effort to make the grading process as fair and objective as possible, I will use the following method. Assignments (Total Possible Points - 100) The five projects will be due at various times during the term.
    [Show full text]
  • Production Handbookfinaldraft
    PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary
    [Show full text]
  • The Future: the Fall and Rise of the British Film Industry in the 1980S
    THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries.
    [Show full text]
  • The Director in the Classroom
    • 29 The Director in the Classroom How Filmmaking Inspires Learning Nikos Theodosakis • 29 3 How Filmmaking Develops Higher Order Thinking Skills In this chapter, we look at some of the ways that filmmaking helps develop higher order thinking skills. The filmmaking process in the classroom invites a variety of skills to be explored and developed as the students journey from the creation of the original idea to the first presentation and beyond. Visioning Skills Filmmaking is about turning the intangible into the tangible. Regardless of the size of the film, whether it’s Ben Hur or My Science Experiment, movies start with that wonderful thing called “the idea.” As the idea formulates in the mind of the filmmaker, a vision of the final film begins to develop. When the idea becomes a script, the chal- lenge for directors is to hold a clear picture in their minds of what they want to communicate and then to guide their crew towards that vision. The goal of the filmmaking process and all involved is to put that vision on the screen. When students create a film, it is an opportunity for them to develop a vision of what they want to explore and to see how the vision changes or remains the same as they set out and make it happen. It is practice in turning the intangible into the tangible. It’s also about learning the process of looking at where you want to be, looking at where you are now, and constructing a plan to connect the two. The skill of working backwards from a goal, and translating it into a plan of action, can be transplanted for personal achievement in many fields.
    [Show full text]
  • The Director's Method in Contemporary Visual Effects Film
    The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter.
    [Show full text]
  • Video Production.Pmd
    HEALLTHDESIGN MEDIAM D EDUCA M GN management GEOGRAPHY E C USI PHYSICS law O L a ARRTgr O C IOTECHNOLOGY LAN A G i cu w Y TION l ture CHEMISTRRY history GU AGE E C H A N I C S N psychology Video Production and Editing Subject: VIDEO PRODUCTION AND EDITING Credits: 4 SYLLABUS Modes of Production Understanding the Different Modes of Film and Video Production; Studio Process; Individual and Collective. Pre-Production Understanding the Whole Process of Planning a Production from Developing a Concept and Establishing the Program’s Objectives to Approach (Treatment); Writing a Script; Hiring and Meeting the Crew Members. Production Understanding the Production Process; Production Roles of the Key Players in a Production; Hierarchy of the Crew; Production Sound: The Importance of Good Production Sound, Role of the Sound Crew and their Responsibilities. Post Production (Editing) Beginning of Editing: Cut, Shot, Scene and Sequence; the Basics of Grammar of Editing; Transitions; Flash-Forward and Flashbacks; Time, Subjective and Objective Treatments; the Classical Editing Style; Techniques of Continuity Editing; the Early Russian Cinema and the Montage; the Role Played by Kuleshov; Pudovkin and Eisenstein in the Russian Style of Editing; Eisenstein’s Montage Theories; Alternatives to Continuity Editing; Discontinuity Editing; Jump Cuts; Dynamic Cutting; Elliptical Editing; Editing Processes: Logging, EDL, Rough Cut, Final Cuts; Introduction to Nonlinear Editing: Starting with FCP, Learning how to Capture Video and Start Performing Simple Cuts. Suggested Readings: 1. Video Editing and Post-Production: A Professional Guide, Gary H. Anderson, White Plains, NY. 2. Video Production Handbook, Gerald Millerson and Jim Owens, Elsevier Science & Technology Books.
    [Show full text]
  • The American Film Institute and Philanthropic Support For
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ......................................................
    [Show full text]
  • Student Production Handbook Revised 2015
    Student Production Handbook Revised 2015 School of Theatre and Dance Kent State University Basic Information and Guidelines ........................................................................................ 2 Introduction ................................................................................................................... 2 Student Production Board ............................................................................................... 2 Student Production Coordinator ....................................................................................... 3 Criteria for Participation in Student Productions ................................................................ 3 Types of Student Productions .......................................................................................... 4 Application Process for Laboratory Productions ................................................................ 5 General Guidelines for Student Productions ...................................................................... 6 Daily Tasks (House Management) ..................................................................................... 12 One Hour before Showtime (also when the Box office opens) ........................................... 12 Half Hour Before Showtime .......................................................................................... 13 Five Minutes ................................................................................................................ 14 Out of the Ordinary Tasks ................................................................................................
    [Show full text]
  • Working Title Films a Creative and Commercial History
    NATHAN TOWNSEND WORKING TITLE FILMS A CREATIVE AND COMMERCIAL HISTORY Working Title Films For Leah Working Title Films A Creative and Commercial History Nathan Townsend Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Nathan Townsend, 2021 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13pt Garamond MT PRO by Servis Filmsetting Ltd, Stockport, Cheshire and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5193 2 (hardback) ISBN 978 1 4744 5195 6 (webready PDF) ISBN 978 1 4744 5196 3 (epub) The right of Nathan Townsend to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures and Tables vi Acknowledgements viii Introduction 1 1 Transatlantic British Cinema and the Political Economy of Film 11 2 The Independent Years: Hand-to-mouth Production and Social Art Cinema (1984–8) 42 3 The PolyGram Years Part I: Founding a Studio and Making a Subsidiary (1988–92) 68 4 The PolyGram Years Part II: Development, Green-lighting and Distribution
    [Show full text]
  • British Music Videos and Film Culture
    Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 The Fine Art of Commercial Freedom: British Music Videos and Film Culture Emily Caston, University of the Arts, London In the “golden era” or “boom” period of music video production in the 1990s, the UK was widely regarded throughout the world as the center for creative excellence (Caston, 2012). This was seen to be driven by the highly creative ambitions of British music video commissioners and their artists, and centered on an ideological conception of the director as an auteur. In the first part of this article, I will attempt to describe some of the key features of the music-video production industry. In the second I will look at its relationship with other sectors in British film and television production – in particular, short film, and artists’ film and video, where issues of artistic control and authorship are also ideologically foregrounded. I will justify the potentially oxymoronic concept of “the fine art of commercial freedom” in relation to recent contributions in the work of Kevin Donnelly (2007) and Sue Harper and Justin Smith (2011) on the intersection between the British “avant garde” and British film and television commerce. As Diane Railton and Paul Watson point out, academics are finally starting to recognize that music videos are a “persistent cultural form” that has outlived one of their initial commercial functions as a promotional tool (2011: 7). Exhibitions at the Museum of Moving Image (MOMI) in New York and the Foundation for Art and Creative Technology (FACT) in Liverpool have drawn the attention of Sight and Sound, suggesting that this cultural form is now on the verge of canonization (Davies, 2013).
    [Show full text]
  • Producer to Producer : a Step-By-Step Guide to Low-Budget Independent Film Producing Pdf, Epub, Ebook
    PRODUCER TO PRODUCER : A STEP-BY-STEP GUIDE TO LOW-BUDGET INDEPENDENT FILM PRODUCING PDF, EPUB, EBOOK Maureen A. Ryan | 350 pages | 28 Apr 2017 | Michael Wiese Productions | 9781615932665 | English | Seattle, United States Producer to Producer : A Step-by-Step Guide to Low-Budget Independent Film Producing PDF Book Jun 10, Joshua rated it really liked it. View Product. Creative and technical expertise coupled with a behind the scenes look at the film industry makes this book an excellent starting point for beginners. This book is like five books in one! Hailey McNamara rated it really liked it Nov 26, Readers also enjoyed. Readers will also learn about the entrepreneurial expectations in relation to marketing, strategies for contending with the emotional highs and lows of producing, and money management while pursuing producing as a profession. Sue Dixon rated it liked it Oct 10, Save on Nonfiction Trending price is based on prices over last 90 days. Ok No Privacy policy. The templates include different budget levels for narrative features, non-fiction features, and short films. Ellen Schauer rated it really liked it Mar 12, In this practical guide, they take the aspiring writer by the hand and guide them through the logistics and tools of writing an attention-grabbing, audience-pleasing This book is like five books in one! Refresh and try again. Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Michael Wiese Productions , - Performing Arts - pages. Self-distribution and other alternatives to traditional distribution are also considered.
    [Show full text]
  • Film and Digital Media Department Handbook 2020-2021
    Idyllwild Arts Academy Film and Digital Media Department Handbook 2020-2021 This handbook serves as an overview of standards and guidelines for students, faculty, vendors, contracted professionals, and cast engaged in the production of student films in the Film and Digital Media department at Idyllwild Arts Academy. TABLE OF CONTENTS Department Philosophy P. 2 Department Requirements P. 2 Curriculum Guide P. 3 - P. 5 Course Descriptions P. 6 - 12 Soundstage Rules P. 13 Standards and Practices P. 12 ❖ Film Length and Shooting Dates P. 14 ❖ SCREENPLAY REVIEW AND APPROVAL PROCESS FOR PRODUCTION P. 15 ❖ Content Standards P. 15 ❖ Code of Professional Responsibility P. 16 Department Safety Guidelines P. 17 - P. 21 Crew Positions P. 22 - P. 31 Production Pledge P. 31 Crew Evaluations and Post Mortems P. 32 Production Book Requirements P. 33 Soundstage Protocol P. 34 - P. 35 Location Protocol P. 36 Casting Protocol P. 37 Production Credits and Guidelines P. 38 Release Print Formats and Distribution P. 39 EPKs P. 39 Posters P. 40 1 DEPARTMENT PHILOSOPHY The Film and Digital Media program is an immersive experience in the practice and understanding of the craft of filmmaking. The pre-professional program emphasizes foundations, explores emerging media, and fosters innovation by grounding students in the core curriculum of Story Development, Cinematography, Creative Development, and Post Production. In the service of the creative spirit, students of the program are encouraged to think critically about the world around them, and effectively identify and communicate their vision through impactful, engaging films, and digital media. As students navigate their identity as global citizen artists, they are encouraged to pursue excellence and innovation in their craft.
    [Show full text]