April Newsletter Revision-2 Copy

Total Page:16

File Type:pdf, Size:1020Kb

April Newsletter Revision-2 Copy April 2016 Newsletter 5 pages INDEPENDENT FILM ARIZONA April Meeting: Development and Pre-Production Tuesday, April 5th, 7pm Downtown, Connect Coworking 33 S. Fifth Avenue, Tucson, AZ 85701 As always we want to thank you for coming every month to be part of the amazing Independent Film Arizona community. Continuing with our education program this year, we have invited Justin Kreinbrink of Taz Entertainment and Monsoon Production Services and Jermey Womac, an award-winning film producer. They will tackle the subject of development and pre-production of filmmaking using their extensive experience and knowledge of this subject. Don’t miss this exciting and interesting presentation. Remember, IFA meetings are free and open to the public, but we also strongly encourage you to take the next step and become a member. For only $25.00 a year, you can be part of this amazing group of people who strive to help the independent filmmakers of Southern Arizona. Academic memberships are also available for free for actively enrolled students. http://independentfilmarizona.com/membership/ You know that being on time is one of the keys to success, so we'll see you there at 7:00 PM. Grísel Wilson President, Independent Film Arizona Independent Film Arizona !1 April 2016 Newsletter 5 pages Development and Pre-Production At the April meeting, our presenters Justin Kreinbrink and Jeremy Womac will discuss the basics of filmmaking in the world of Independent Film. They will discuss films with budgets primarily between 200K and 600K, and their goals will be: • To take you through the steps that you will need to take as a Producer, Line Producer, and/or a Unit Production Manager. • To discuss the role of crew positions, understanding what they are and their functions. Speaker Bios Justin Kreinbrink A Tucson native, Justin Kreinbrink has over twenty years of professional experience in the motion picture industry. At fifteen, he became a production assistant on the Academy Award-winning film Braveheart and the television movie Vanishing Point. In 2006, Justin directed/produced/starred in the western feature The Decoy, shot entirely in Southern Arizona, and distributed nationwide by Echo Bridge Home Entertainment/Showtime, and worldwide by Unistar Entertainment. The Decoy made a 68% profit in its first quarter of release and has been re-released 8 times since, most recently in a DVD box set where Justin shared the cover with John Wayne and Tom Selleck. Besides The Decoy, Justin has served as a Director, Producer, UPM, Assistant Director, and/or Coordinator on dozens of feature films, commercials, music videos, reality series, live shoots, and industrial projects. Some of his clients include Discovery Channel, Dove, Sun Life Insurance, Caterpillar, Red Bull Media House, NFL, Audi, PBS, Cox Media, Bicycling Magazine, and some of the nation’s top marketing agencies. He produced, directed, and hosted the documentary El Tour de Tucson, winner of 14 Telly Awards including Directing and Long Subject Film. He Independent Film Arizona !2 April 2016 Newsletter 5 pages has produced/hosted the videos of El Tour de Tucson since 2003, which have aired on ABC every year. Justin is an award-winning actor, he has appeared in commercials for national companies, he has also acted in theatrical productions and several independent and Hollywood productions. He has served as a stunt man/double in numerous productions and countless national commercials, specializing in driving, rigging, and fight scenes. Justin is a member of the Screen Actors’ Guild (former Regional Council Member). He is currently the owner of Taz Entertainment and Monsoon Production Services, Southern Arizona’s largest motion picture equipment rental company. Jeremy Womac Jeremy has over 15 years’ experience in film and theatre Having worked in most every department on set, ranging from assistant art director to sound mixer. He has produced two feature films. Additionally, he has produced several short films and music videos. Along with Assistant Directing on a number of films, Jeremy has also been Unit Production Manager on several films, including six festival selections. Most recently he was the Arizona - Unit Production Manager for the film 600 Miles starring Tim Roth, which played at the 65th Berlin International Film Festival where it won the award for Best First Feature. As well as the UPM for the feature film “You’re Gonna Miss Me” starring Kit Brooks, Morgan Fairchild, and Eric Roberts. Announcements IFA is looking for panelists and/or presenters for our May 3rd and June 7th meetings. • May 3rd’s meeting will be about Hiring the Best Actor For Your Film, and we are looking for actors, a casting director and/or a director to share their experiences. We prefer directors with experience in hiring actors for more than one film, unless that film has won Best Actor (Male or Female) • June 7th’s meeting will be about Production (Shooting), and we are looking for a Director and Director of Photography to provide an overview of this part of the filming project. If you want to be considered for either meeting, please send an e-mail with your information and experience to: [email protected] Independent Film Arizona !3 April 2016 Newsletter 5 pages April 10th Making Your Projects Happen: Successful Film/TV Producing and Financing Former ICM agent turned award-winning filmmaker and author Jim Jermanok will be at The Screening Room on April 10 to present a workshop on Producing and Financing. The workshop is designed for filmmakers, writers, directors and actors who want to empower themselves in understanding the full filmmaking process; for producers who want to become better producers; and for investors who want to be better informed. tucsonproducing.eventbrite.com April 14 - May 1 Arizona International Film Festival Films and schedules are now online for the Arizona International Film Festival. The festival, now in its 25th year, will run from April 14 - May 1. Arizona Shorts Night will be Friday, April 15 at The Screening Room at 9:30pm www.filmfestivalarizona.com Casa Video and Casa Film Bar Casa Video and Casa Film Bar is launching an Open Screen Night on the last Tuesday of every month, inviting local filmmakers to screen their films. For budding film directors, it is also a chance to receive feedback on any early projects. www.casafilmbar.com Independent Film Arizona !4 April 2016 Newsletter 5 pages If you have announcements for IFA social media or future newsletters, please e-mail them to: [email protected] Sponsors Groundwork Promotions specializes in social media campaigns and online promotions. We develop strategies, produce content and run promotions to communicate your message and vision. We offer consulting, content creation, social media management, website development, messaging and other services. www.groundworkpromotions.com If you are interested in being a sponsor for IFA. please send an email to: [email protected] Independent Film Arizona !5.
Recommended publications
  • Black Nights Stars Programme
    %ODFN 1RYHPEHU 1LJKWV ,QGXVWU\#7DOOLQQ %DOWLF(YHQW 6WDUV Black Nights Stars is designed to support young actors from ‘It was a tremendously gratifying experience to serve on the the Baltic Sea region, to make their next steps into the in- BLACK NIGHT STARS Jury to select stellar talent from the ternational arena by connecting them to key international Baltics. Though all unique, they share an amazing presence, film professionals, such as casting directors, casting agents, an unexpected force, mystery, soulful beauty, fierce inten- producers and the press and acquire various practical skills sity, intricate sensuality, and deepness which feels unique needed in their future international careers. to their countries and still universal in their sincerity. It is of great value to the film industry to discover these marvellous The five-day online event, highlights the emerging talent of and fresh artists who will shine, not just in their country, but eight young actors and actresses, all selected by an interna- internationally. To bring them to the film industry’s atten- tional jury of experts, based on their first feature films and TV tion so they can further enrich our experience as audiences roles. The program consists of masterclasses, workshops and and bring us closer together is a treasure’. networking events with international casting professionals from Europe and the USA and focuses on the future of cast- Lina Todd, Lina Todd Casting Agency, New York ing and auditioning online, presenting oneself at industry and media events, how to make your best Self Video and about ‘Black Nights Stars is a wonderful way to celebrate local Intimacy in Front of the Camera.
    [Show full text]
  • 1 the Film Crew There Are Many, Many Positions in a Film Crew. Here
    The Film Crew There are many, many positions in a film crew. Here are the most significant ones. Producer A Film Producer creates the conditions for making movies. The Producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the film making process from development to completion of a project. Executive Producer An Executive Producer (EP) is a producer who is not involved in the technical aspects of the filmmaking process, but has played a crucial financial or creative role in ensuring that the project goes into production. Executive Producers are responsible for the overall quality control of productions, as well as financing and marketing. Production Manager The Production Manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the Production Manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM 1 directly supervises the Production Coordinator. Production Coordinator The Production Coordinator is the information center of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production. Screenwriter The Screenwriter, or Scriptwriter, may pitch a finished script to potential Producers, or may write a script under contract to a Producer. A Writer may be involved, to varied degrees, with creative aspects of production.
    [Show full text]
  • Steinhart Runaway Hollywood Chapter3
    Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs.
    [Show full text]
  • Nancy Nayor Castings Directed
    Nancy Nayor Castings Directed Sometimes tubelike Osbourne generalize her shipman atremble, but songful Ethelred voicing growlingly or jive considering. Jorge bumps hollowly while irreparable Sander attitudinizings archaeologically or rampage respectably. Crippling and thermoduric Biff traumatizes while cyclopedic Ephraim correlated her duplicature omnivorously and disarrange unreconcilably. Unlimited seats; no limits on impressions and print runs. Dominika Posseren, Nancy Nayor, Ben Davidson, Dom Posseren. Please write the above role you are submitting for in the subject line of your email. He helped transform the Christopher Lambert film about immortals into a franchise that included sequels, TV series and video games. WANT TO GO DEEPER? Would check if array passed by user and subscriber entitlement data are not empty. To complete the subscription process, please click the link in the email we just sent you. English but look Russian. Or, you might want to print a copy that lives in your car. Cable is the leading voice of the television industry, serving the broadcast, cable and program syndication communities. Children learn by watching everyone around them, especially their parents. Please submit photos and resumes by mail only. THEME: Jesus is coming again. How does the agent or the manager balance such concerns against the need to find good material and solid commitments? Barely out of nancy nayor castings directed by eyde studios managing editor and directed by nancy nayor shared that it was? Known for his roles in Creed, Fruitvale Station, and Black Panther, Jordan has certain prove himself to be quite a capable actor, with the actor rising to stardom over the past few years.
    [Show full text]
  • Usc Sca Ctpr 507 Production I -‐ Fall 2011
    USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
    [Show full text]
  • QUEBEC FILM SOURCEBOOK 2016 Update 2015-12
    QUEBEC FILM SOURCEBOOK 2016 Update 2015-12 WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM WE ARE UNIFIED CREATIVE FORCES VFX STAGES CAMERAS GRIP RIGGING LIGHTING DOLLY FRONT END FILM LABORATORY DI VIDEO POST AUDIO POST MELSSTUDIOS.COMCanada’s largest supplier of services to the fi lm and television industry VISIONGLOBALE_Publicite QFSB - SPREAD.indd All Pages 2015-08-19 11:02 AM QUEBEC FILM AND TELEVISION COUNCIL TOLL FREE: 1 866 320 FILM (3456) Telephone: 514 499-7070 Fax: 514 499-7018 [email protected] www.qftc.ca For the e-book version go to www.quebecfilmsourcebook.com DISCLAIMER Although every effort has been made to ensure that this information is correct, the publisher cannot guarantee accuracy. Please take note that the information herein is meant to be used as a guide only. © Copyright 2015, Quebec Film and Televison Council. 2015 Edition Published by Quebec Film and Television Council It is a pleasure for us to provide you with this invaluable tool that is the Quebec Film SourceBook (QFSB), the annual directory of the Quebec film and television industry. Now in its 5th edition, the QFSB is a comprehensive guide to the best of what Quebec has to offer in terms of labor, services, resources and infrastructures to help you film your production in our province. In it, you will also find all you need to know about our generous tax incentives, our unions and guilds, as well as our regional and municipal film offices – everything to ensure your film or TV shoot runs as smoothly as possible, from pre-produc- tion to the production, post-production and VFX stages.
    [Show full text]
  • Thesis Table of Contents
    A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production. Volume 1 of 3 Neil Martin Georges Hillman PhD University of York Theatre, Film and Television September 2017 2 Abstract This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack.
    [Show full text]
  • So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
    So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses.
    [Show full text]
  • FAQ About Film Production — 1 Action Movie Makers Training
    Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.
    [Show full text]
  • The Truth About Casting: an Analysis of Typecasting in the Boston Theatre Market
    The Truth About Casting: An Analysis of Typecasting in the Boston Theatre Market Author: Noelle Scarlett Persistent link: http://hdl.handle.net/2345/bc-ir:107893 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2017 Copyright is held by the author, with all rights reserved, unless otherwise noted. RUNNING HEAD: THE TRUTH ABOUT CASTING BOSTON COLLEGE MORRISSEY COLLEGE OF ARTS AND SCIENCES DEPARTMENT OF COMMUNICATION THE TRUTH ABOUT CASTING: AN ANALYSIS OF TYPECASTING IN THE BOSTON THEATRE MARKET A SENIOR HONOR THESIS BY NOELLE E. SCARLETT DECEMBER 2017 THE TRUTH ABOUT CASTING 2 Abstract As a young woman who plans on pursuing acting after graduation, I have begun to learn how I must craft myself in the professional world. In theatre, the importance of accurately portraying one’s “type” is a concept that has been consistently stressed. One sees the irony of “type” if they consider the very premise of acting, to portray someone other than oneself. If acting is actually “living truthfully under imaginary circumstances” as Meisner suggests, then any actor should be able to play any role. However, actors are constantly pigeonholed into roles that objectify them to a particular type. Academic research has failed to sufficiently address casting conventions, especially in theatre. My study aims to address this gap by gaining insight on casting practices from the director’s perspective. To put it simply, it is my hope that this thesis will reveal the intricacies of casting, including the prevalence of type. Consequently, this will generate a better understanding of the process so that others and myself can learn how to breed success and simultaneously maintain our dignity whilst adhering to a field that requires one to brand themself.
    [Show full text]
  • Producer to Producer a Step-By-Step Guide to Low-Budget Independent Film Producing 2Nd Edition Pdf, Epub, Ebook
    PRODUCER TO PRODUCER A STEP-BY-STEP GUIDE TO LOW-BUDGET INDEPENDENT FILM PRODUCING 2ND EDITION PDF, EPUB, EBOOK Maureen Ryan | --- | --- | --- | 9781615932665 | --- | --- Producer to Producer A Step-By-Step Guide to Low-Budget Independent Film Producing 2nd edition PDF Book There is no faster way up the ladder than being prepared and no faster way out the door than by screwing up. Part Two shows the actual work of master editors by using frame grabs individual frames from thirteen famous scenes. Be the first to write a review. In celebration of the sixtieth anniversary of Akira Kurosawa s Seven Samurai one of cinema s most superb and influential achievements Richard D. Pepperman presents this elegant book as a master class, and illustrates, with beautiful strokes of insight, how and why this film has inspired generations of filmmakers. Jul 24, Simon rated it it was amazing. More Details The book includes everything from budgeting, managing the production office, script revisions, cost reporting, publicity and more. Bios: Adam Beasley primarily counsels clients in entertainment and intellectual property matters. Good overall explainer to producing, helpful and insightful though at times a bit basic. Details if other :. Books by Maureen Ryan. Brand New. Sort order. Working as a Gaffer: What Does a Gaffer do? Aug 06, Fer Gzlz rated it it was amazing. Written in a hip and entertaining style in the language of the cyber generation, this book guides the aspiring videomaker from an initial series idea through writing, production, and uploading and marketing a polished pilot and successive episodes of his or her own original Internet TV series.
    [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]