Steadicam Flyer Manual
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Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
Dr. Katie Bird Curriculum Vitae, Sept 2019
Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no. -
Bill Mcclelland [email protected] (858)883-4078 IATSE, SOC, SOA
Bill McClelland [email protected] www.sunsetproductionstudios.com (858)883-4078 IATSE, SOC, SOA Film Position Company/Director Shooting Christmas B Camera/Steadicam Hallmark/Steven Monroe Finding Steve Mcqueen C Camera FSMQ LLC/Mark Steven Johnson Dog Years A Camera/Steadicam Dog Years LLC/Adam Rifkin Media Steadicam Media 100/Craig Ross The Bombing A Cam/Steadi/Underwater Atom Studios/Xian Zou Fist Fight C Camera S&K Pictures/Ritchie Keen Directors Cut A Camera/Steadicam Op Make Penn Bad/Adam Rifkin Obsessed B Camera/Steadicam Op Lifetime/Anthony DiBlasi Mercenaries B Camera/Steadicam Op Tiki Terrors/Chris Ray Dead Water B Camera/Steadicam Op Tiki Terrors/James Bressack Displacement DP/Steadicam/Camera Maderfilm Productions/Ken Mader T-Minus Steadicam Operator Tiki Terrors/Chris Ray Android Cop Steadicam Operator Tiki Terrors/Mark Atkins Holiday Road Trip Steadicam Operator Monogram Pictures/Fred Olen Ray Maul Dogs Steadicam Operator AZ Film/Ali Zamani Dead Sea DP/Steadicam/Camera Dead Sea Films/ Brandon Slagle House of Secrets Steadicam Operator Monogram Pictures/Fred Olen Ray Nightcrawler Steadicam Operator Russell Appling Holiday Heist Camera/Steadicam Taut Productions/Joe Lawson Atlantic Rim B Camera / Steadicam Tiki Terrors / Jerod Cohen Meet The Cleavers Steadicam Operator Taut Productions/HM Coakley Mission 26: Endeavor Steadicam / Camera Operator California Science Center / Haley Jackson I Love You Steadicam Operator James Love / Lucas Colombo Bigfoot Steadicam Operator Asylum Pictures/Bruce Davidson Spreading Darkness Steadicam -
The Still Photographer
_____________________________________________________________________________ ______ The Still Photographer (Stills/Portrait Photographer) by Kim Gottlieb-Walker, Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen Duties The Still/Portrait Photographer's primary job is to interpret the project in single frames which accurately represent the story, production value, stars, and feeling of the show. These images are used to publicize, entice, and seduce the potential audience into watching the show. Whenever the public is exposed to images other than video or film regarding a show, they must be shot by the unit still photographer. The still person will work both during actual filming/taping, during rehearsals, on or off the set. He or she will shoot available light but is also capable of doing fully lit shoots with either his own lighting or in conjunction with production. More specifically, the still photographer takes production stills that the publicity department can use to promote the film or television show in press kits and various print media and the increasingly important DVD stills galleries. This includes characteristic shots of each scene, shots which show the actors acting together, shots which give a feeling of the look and atmosphere of the show, good character shots of the actors, shots of the director directing, special effects being rigged, special make-up being created, anything which could be supplied to the regular or genre press or used later on the DVD to promote interest in and expand knowledge about a production. But beyond that, because the Still Photographer is the only person on the set authorized to take photographs, he or she may, if time allows, serve some of the photographic needs of the crew. -
Cmotion Cinefade Varind User Manual
CINEFADE® A novel form of cinematic expression USER MANUAL 52 Cinefade User Manual Oliver Janesh Christiansen Inventor of Cinefade Welcome to a novel form of cinematic expression. Cinefade allows filmmakers to vary depth of field in a single shot at constant exposure, enabling the gradual transition between a sharp and a blurry background. In partnership with cmotion of Austria, London-based filmmaker Oliver Janesh Christiansen has developed a unique system. The in-camera effect immerses the viewer in a story or makes a client’s product stand out in a commercial, enabling a whole new form of cinematic expression and gives cinematographers an opportunity to explore the vast creative potential of a variable depth of field. “Cinefade is a really useful and very subtle tool to use in moments of extreme drama. A way of immersing an audience inside the mind of a character during a pivotal moment.” – Christopher Ross BSC Cinefade uses a cmotion cPRO lens control system to vary iris diameter, changing depth of field. The Cinefade VariND filter sits inside a matte box and automatically keeps exposure constant by slaving the filter motor to the iris motor. The Cinefade VariND is also a practical tool and can be used as a simple variable ND filter or RotaPola that is easy to mount. Filmmakers can remotely change ND values whenever the camera is inaccessible and dynamically control the VariND, for example to adjust exposure during interior to exterior Steadicam shots. Since Cinefade is a new addition to the cinematic language, there is no preconception of what to do and we look forward to seeing how you will use this novel form of cinematic expression. -
BASIC FILM TERMINOLOGY Aerial Shot a Shot Taken from a Crane
BASIC FILM TERMINOLOGY Aerial Shot A shot taken from a crane, plane, or helicopter. Not necessarily a moving shot. Backlighting The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging Shot A shot used to cover a jump in time or place or other discontinuity. Examples are falling calendar pages railroad wheels newspaper headlines seasonal changes Camera Angle The angle at which the camera is pointed at the subject: Low High Tilt Cut The splicing of 2 shots together. this cut is made by the film editor at the editing stage of a film. Between sequences the cut marks a rapid transition between one time and space and another, but depending on the nature of the cut it will have different meanings. Cross-cutting Literally, cutting between different sets of action that can be occuring simultaneously or at different times, (this term is used synonomously but somewhat incorrectly with parallel editing.) Cross-cutting is used to build suspense, or to show the relationship between the different sets of action. Jump cut Cut where there is no match between the 2 spliced shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing. The opposite of a match cut, the jump cut is an abrupt cut between 2 shots that calls attention to itself because it does not match the shots BASIC FILM TERMINOLOGY seamlessly. It marks a transition in time and space but is called a jump cut because it jars the sensibilities; it makes the spectator jump and wonder where the narrative has got to. -
L'effet Steadicam
NEWS FOR OPERATORS AND OWNERS ~ \ Pour En Finir Avec "L'effet Report from Steadicam" South Africa - - - -------- - -------------- ------ by Jean Marc Bringuier to the already abundant range of Chris faces many of the same devices aimed at gliding a camera in problems we all do, plus a few that The complete article originally space. are unique to his troubled land. appeared in Cahiers Du Cinema . The only va lid use offilm We've talked many times over the last In this excerpt , Jean Mar c has equipment, ho wever sophisticated or f ew years , including last spring when exci ting, is to help tell a story or instill [ was in South Africa. -Ed. given us a Gallic feast ofideas a visual atmosphere. It does requ ire _. _- . ~ ----- that are useful f or discussions with individuals to stru ggle with it. I'm not operators, novices, and producers. ju st hinting at the sweat dripping from Ch r is Haarhoff: I recently -Ed . the operator's face (nor at the produ c alam agated my Stead icam with a great tion manager's pallor. ..) for Cinem a rental house down here, the Movie Panaglide and Steadicam are will always be a team sport. It was Camera Company. They were unable tools a filmmaker may use to stabilize certainly not the dollies used by to resurect their own Steadicam, a some of his views of the world. They Hitchcock which created the well Mod el II, and so I joined forces with are expected to free the creators' known suspense, through some hidd en their ow n in house ope rator, Gi lbert minds of several old constraints of the secret of their technology, but indeed Reed , thus reinforcin g the we ll held traditional and subtle art of dealin g the inimitable style of this Aristoc rat Stead icarn notion that unity is with the logistics of moving a film of Vision. -
The Grip Book
THE GRIP BOOK FOURTH EDITION 01-FM-K81291.indd i 9/4/09 11:15:20 AM 01-FM-K81291.indd ii 9/4/09 11:15:20 AM The Grip Book FOURTH EDITION Michael G. Uva AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier 01-FM-K81291.indd iii 9/4/09 11:15:20 AM Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2010 Elsevier Inc. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
A Guide to Working Effectively on the Set for Each Classification in the Cinematographers Guild
The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for Each Classification in The Cinematographers Guild Including definitions of the job requirements and appropriate protocols for each member of the camera crew and for publicists 2011 The International Cinematographers Guild IATSE Local 600 Setiquette A Guide to Working Effectively on the Set for each Classification in The Cinematographers Guild CONTENTS Rules of Professional Conduct by Bill Hines (page 2) Practices to be encouraged, practices to be avoided Directors of Photography compiled by Charles L. Barbee (page 5) Responsibilities of the Cinematographer (page 7) (adapted from the American Society of Cinematographers) Camera Operators compiled by Bill Hines (page 11) Pedestal Camera Operators by Paul Basta (page 12) Still/Portrait Photographers compiled by Kim Gottlieb-Walker (page 13) With the assistance of Doug Hyun, Ralph Nelson, David James, Melinda Sue Gordon and Byron Cohen 1st and 2 nd Camera Assistants complied by Mitch Block (page 17) Loaders compiled by Rudy Pahoyo (page 18) Digital Classifications Preview Technicians by Tony Rivetti (page 24) News Photojournalists compiled by Gary Brainard (page 24 ) EPK Crews by Charles L. Barbee (page 26) Publicists by Leonard Morpurgo (page 27) (Unit, Studio, Agency and Photo Editor) Edited by Kim Gottlieb-Walker Third Edition, 2011 (rev. 5/11) RULES OF PROFESSIONAL CONDUCT by Bill Hines, S.O.C. The following are well-established production practices and are presented as guidelines in order to aid members of the International Cinematographers Guild, Local 600, IATSE, function more efficiently, effectively, productively and safely performing their crafts, during the collaborative process of film and video cinematic production. -
Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP
Pact BECTU Feature Film Agreement Grade Ladder PAY GROUP 12 Armourer 1 All Runners Board Operator Boom Operator 2 Art Dept Junior Chargehand Props Camera Trainee Electrician Costume Trainee Post Prod. Supervisor Directors Assistant Production Buyer Electrical Trainee / junior Rigging Electrician Jnr Costume Asst Senior Make-up Artist Make-up Traineee SFX Technician Producers Assistant Stand-by Art Director Production Secretary Props Trainee / junior 13 1st Asst. Editor Script Supervisor's Assistant Art Director Sound Trainee / junior Convergence Puller DIT 3 2nd Assistant Editor 3rd Assistant Director 14 ?Crane Technician? Accounts Assistant/cashier Grip Art Dept Co-ordinator Location Manager Art Dept Assistant Prop Master Asst Production Co-ordinator Costume Assistant 15 Costume Supervisor Junior Make-up & Hair Best Boy Electrician Location Assistant Best Boy Grip Rigging Gaffer 4 Data Wrangler Make Up Supervisor Video Playback Operator Scenic Artist Script Supervisor 5 Assistant Art Director Sculptor Costume Dresser Set Decorator Costume Maker Stereographer AC Nurse Post Production Co--ordinator 16 Focus Puller Sound Asst (3rd man) Production Accountant Unit Manager Stills Photographer 6 Assistant SFX technician 17 Dubbing Editor Asst. Location Manager Researcher 18 1st Assistant Director Camera Operator 7 2nd Assistant Accountant Costume Designer Clapper Loader Gaffer Draughtsperson Hair & Make Up Chief/Designer Key Grip 8 Assistant Costume Designer Production Manager Dressing Props Prosthetic Make Up Designer Graphic Artist Senior SFX Technician Sound Recordist 9 Illustrator Supervising Art Director Stand By Construction Stand By Costume 19 Individual Negotiation => Stand By Props Casting Director Storyboard Artist Director Director of Photography 10 Make Up Artist Editor Production Co-Ordinator Line Producer / UPM Production Designer 11 1st Assistant Accountant SFX Supervisor 2nd Assistant Director Senior Video Playback Operator Storeman/Asst Prop Master . -
Steadicam Letter Master Series
s NEWS FOR OPERATORS AND OWNERS Volume 4, number 3 Oct 1994 Steadicam Master Series ™ Features and Specifications Three Master Series" Steadicams have just returned fr om their highly acclaimed European debut at the IBe show and the new Munich Show-Biz Expo. Along with six others, they will be put into the hands of operators for a 6-week "beta-test." The resulting f eedback will inform the changes to be incorporated into f inal production in Dec ember (and as retrofits fo r these fir st test units) . The Master Series™ program began eighteen months ago in orde r to provide a new generation Steadicam and to acco mplish the following objectives: 1. Improv e operator capability, stam ina, and ease of shooting. 2. Eliminate mechanical and electri cal anachronisms inherent in earlier designs. The Master Series includes both evolutionary and revoluti onary changes to the stage, post, gimbal, sled, arm, vest, battery, electronics, and monitor. It has been an enormous project, which, incidentally, has been accomplished by Cinema Products entirely on working capit al and without outside investment. Here are its top-to-bottom features, specifica tions, and materials. Stage/J-box: Patent-pending smooth manual and/or motori zed remotely controllable " x" and "y" trim durin g the shot. Criti cal camera tilt attitud e can be changed on-the-fly by either the operator via digital-wireless buttons on the gimbal or by the assistant via convent ional wireless at Master Series ™ sled with the battery and monitor extended for increased inertia. Converter dovetails to base at bottom front of "K section." Master Series continued on p. -
How to Become a Steadicam Operator 74
INTRODUCTION 6 DEFINITION 9 HISTORY 9 BACKGROUND 10 STEADICAM CONFIGURATION 12 HOW IT WORKS 13 THE STEADICAM WORKS IN THESE WAYS. 13 ISOLATION OF THE CAMERA 14 THE STEADICAM IS DESIGNED TO ISOLATE TWO ELEMENTS 14 ISOLATION OF THE SLED AND CAMERA 15 THE ARTICULATED ARM 15 SPREADING THE CAMERA'S MASS 17 HOW YOU CONTROL IT 17 CENTER OF GRAVITY 18 CENTER OF MASS 18 CONCLUSION. 18 WHAT STEADICAM IS GOOD AT 19 WHAT STEADICAM IS NOT GOOD AT: 21 EXAMPLES OF GOOD STEADICAM IN FEATURE FILMS 22 BALANCE 23 STATIC BALANCE 23 DYNAMIC BALANCE 25 STEADICAM ARMS 27 PRO ARM 29 DAVID EMMERICHS VIEWS ON THE PRO ARM 30 ARM CONCLUSION 31 THE MASTER SERIES ARM 32 GARRETT BROWNS COMMENTS ON THE NEW MASTER SERIES ISO-ELASTIC ARM 32 ARM MAINTENANCE 34 1 SAFETY PRECAUTIONS 34 SPRING TENSION 35 ADJUSTABLE ARMS. 35 MASTER SERIES ARM 35 PRO ARM 36 ANGLE OF LIFT 36 OLDER MODEL ARMS 36 STEADICAM ARM UPGRADE PATH 39 DIFFERENT STEADICAM MODELS 40 GENERAL 40 MODEL I 40 MODEL II 40 EFP 41 MODEL III AND IIIA 41 MASTER SERIES 41 PRO (PADDOCK RADICAL OPTIONS) SLED 42 SK 42 JR AND DV 42 THE DIFFERENT STEADICAM MODELS MADE BY CINEMA PRODUCTS 43 STEADICAM® MASTER FILM 45 MASTER FILM SPECIFICATIONS 45 MASTER ELITE SPECIFICATIONS 46 MASTER EDTV SPECIFICATIONS 48 MASTER BROADCAST SPECIFICATIONS 49 EFP SPECIFICATIONS 50 PROVID SPECIFICATIONS 51 VIDEO SK SPECIFICATIONS 52 GARRETT BROWNS COMMENTS ON THE MASTER SERIES 53 GEORGE PADDOCK INCORPORATED PADDOCK RADICAL OPTIONS 58 PRO 58 PRO SYSTEM 58 PRO ARM 60 DONKEY BOX 60 GIMBAL 61 5” DIAGONAL HIGH INTENSITY MONITOR II 61 POST 62 BATTERIES 62 BATTERY MODULE 63 PRO LITE 64 PRO GYRO MODULE 64 SUPERPOST 65 PRO PRICE LIST 66 2 SLED: 66 ARM 66 PRO MODULES 67 PRO VEST 67 CINEMA PRODUCTS MASTER SERIES VS.