Spspspsps Spspspsp Spspsps Spspsp Spsps Spsp Sps 한국영화산업표준직업분류 Sps-A Kcine 1101-7223:2017
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List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
I.A.T.S.E. Local 38 Mark Sejnowski 50845 Shenandoah Macomb
I.A.T.S.E. Local 38 Mark Sejnowski 50845 Shenandoah Macomb, Michigan 48044 (586) 421-1326 (Home) (248) 408-7558 (Cell) E-mail [email protected] OBJECTIVE Be a problem solver and try and make a set look as realistic as possible. To work in accordance with the style of the script, along with the instructions of the production designer, art director, construction coordinator and set decorator. FILM CREDIT HISTORY Batman vrs Superman Dawn Of Justice 2014 Set Dec Painter Lead Painter – Frank Piercy 661- 993- 0962 Eloise 2014 Set Painter Lead Painter – Tony Gaudio 818-406-3256 12 Monkeys NBC TV 2013 Set Painter Lead Painter - Tony Gaudio 818-406-3256 Transformer 4 2013 Set Painter Lead Painter - Frank Piercy 661-993-0962 Need For Speed 2013 Greensman Head Greensman - Mike Zambiski 586-557-2046 Low Winter Sun AMC TV 2012-13 Set Painter Contruction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 Into The Storm 2012 Set Painter Lead Painter - Frank Dambra 708-227-5815 Only Lovers Left Alive 2012 Set Painter Construction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 AKA Jimmy Picard 2012 Set Painter Construction Coordinator - Sean Clouser 818-674-3190 Lead Painter - Dita Clouser 818-282-2236 Oz: The Great And Powerful 2011 Set Painter Lead Painter - Tom Brown 818-398-5931 Paint Foreman - Eric Saperstein 310-991-3229 Hung Season 3 2011 Set Painter Lead Painter - Melanie Mahoney 310-433-6656 5 Year Engagement 2011 Set Dresser Leadman - Mike Sunga 818-635-2499 Detroit 187 -
Employment Application
American Federation of Utah State Federation of Labor Labor International Alliance of Theatrical Stage Employees, Local 99 526 West 800 South Salt Lake City, Utah 84101 (801) 359-0513 July 16, 2020 Welcome to IATSE Local 99! We hope you are excited to become part of an organization that has been representing workers, like you, for well over a century. IATSE Local 99 will increase your career opportunities and help you to secure your future as a professional in the entertainment industry. Since 1903, Local 99 has represented entertainment industry workers in Salt Lake City and beyond. Our members originally installed screens, operated projectors in movie houses, and worked on traveling shows on the Vaudeville circuit. As the entertainment industry flourished, our work and expertise evolved and expanded beyond our humble beginnings. Today, Local 99 members and referrals work in motion pictures, commercials, convention centers, theatres, arenas, shops, and performing art centers throughout Utah and southern Idaho. Local 99 is proud to be a part of an International union that is over 150,000 members strong, with Locals spanning coast-to-coast in the U.S., its Territories, and Canada. Workers under Local 99 administered agreements receive an extraordinary amount of benefits. The IATSE partners with the IATSE National Benefits Fund (NBF) to provide Medical Insurance plans, Pension plans and Annuity plans. These plans are employer-contributed, self-directed, and may be individually maintained between union jobs. Workers on our MPTV List obligate themselves to a 2% assessment known as “work dues,” which can be deducted from your paycheck if you so choose. -
Texas Moving Image Industry Incentive Program 2014 Update
Texas Moving Image Industry Incentive Program 2014 Update Prepared for the Texas Association of Business By the Bureau of Business Research IC² Institute The University of Texas at Austin Bruce Kellison, Ph.D. and James E. Jarrett, Ph.D. Principal Investigators Acknowledgments Once again, the research team relied heavily on the cooperation of the Texas Film Commission in preparing this update of its 2011 report. Director Heather Page and Incentive Program Manager Robert Schuller patiently provided data on the Moving Image Incentive Program and advice on interpreting trends in the data and nuances in the program. The Bureau of Business Research, IC² Institute, The University of Texas at Austin The Bureau of Business Research (BBR) was established in 1926 to provide small business owners and policymakers with applied economic research and data to strengthen the state’s business environment. Throughout its history, the Bureau and its work have been characterized by objectivity and independence. The Bureau’s prolific publications include Texas Business Review, the Texas Business Leader’s Confidence Index, and numerous economic assessments and program evaluations. The IC² Institute was established in 1977 with the vision that science and technology are resources for economic development and enterprise growth. In addition to the BBR, the Institute oversees several targeted research programs that include the Austin Technology Incubator (with industry-specific incubation assistance for business start-ups in the software, clean energy, wireless, and bioscience technology sectors), and the Global Commercialization Group. The IC² Institute is directed by Dr. Robert A. Peterson. Project Staff Dr. Bruce Kellison, Associate Director of the Bureau of Business Research, IC² Institute, and Dr. -
WKU Film Student Handbook 2020
STUDENT HANDBOOK VOL. 6, Fall 2020 TABLE OF CONTENTS BA IN FILM SUGGESTED 4-YEAR DEGREE PLAN 3 BFA IN FILM PRODUCTION 4-YEAR DEGREE PLAN 4 ACKNOWLEDGEMENT OF STUDENT OWNERSHIP 5 OUTSIDE WORK 5 PROFESSIONALISM STATEMENT 6 WRITING, RESEARCH, AND ACADEMIC INTEGRITY 7 HELPFUL FILM STUDIES LINKS 8 FILM SCREENINGS 9 SIGHT AND SOUND TOP 50 FILMS OF ALL TIME 10 FILM CREWS AND CREWING 11 EQUIPMENT USAGE AGREEMENT 12 EQUIPMENT ROOM MISSION AND POLICIES 13 BA AND BFA PACKAGES CHECK IN/OUT PROTOCOL 15 CAMPUS AND LOCATION FILMING 18 PRODUCTION EXPENSES 19 PRODUCTION INSURANCE 19 BFA3 and BFA4 ONLY: WEAPONS USE POLICY 20 BFA3 and BFA4 ONLY: GUN USE PROTOCOL 21 TITLE AND CREDIT PROTOCOL 22 BA IN FILM SUGGESTED 4-YEAR DEGREE PLAN BA IN FILM: FOUR-YEAR PLAN YEAR ONE FILM 100: Film Industry & Aesthetics 3 FILM 202: Basic Film Production 3 FILM 201: Introduction to Cinema 3 FILM 250: Screenwriting I 3 FILM 155: Film Attendance 0 FILM 155: Film Attendance 0 College Composition (F-W1) 3 Social & Behavioral Science (E-SB) 3 Human Communications (F-OC) 3 Natural & Physical Science w/lab (E-SL) 3 Quantitative Reasoning (F-QR) 3 Literary Studies* (F-AH) 3 SEMESTER TOTAL 15 SEMESTER TOTAL 15 YEAR TWO BCOM 366: Editing I 3 FILM 282: Film Production Workshop I 3 FILM Studies Elective 3 FILM Studies Elective 3 World History (F-SB) 3 Natural & Physical Science w/no lab (E-NS) 3 Arts & Humanities (E-AH) 3 2nd Major Course 3 2nd Major Course or Foreign Language 3 2nd Major Course 3 SEMESTER TOTAL 15 SEMESTER TOTAL 15 YEAR THREE FILM 369: Introduction to World Cinema -
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. -
YOUR CAREER in FILM + Tv
YOUR CAREER IN FILM + tv INDUSTRY OVERVIEW Film and television production is one of Oklahoma’s leading industries contributing to both its current cultural renaissance as well as the creation of jobs and economic development across its statewide communities. Nearly 40 film and television projects utilized the Oklahoma Film Enhancement Rebate Program last year, contributing over 4,200 jobs and making it one of the busiest years in Oklahoma’s film industry. READY TO ROLL: INFRASTRUCTURE Oklahoma’s central location and low costs for living and business makes the state a formidable partner for the film and television industry. Paired with growing partnerships between business, government and civic leaders, new businesses continue to locally establish themselves while existing companies expand their inventory to meet the evolving needs of our industry. INCENTIVE + RELIABILITY In an industry that relies on the dependability of state government and local support to establish its business, Oklahoma has proven its steadfast commitment to film and television. The Oklahoma Film Enhancement Rebate Program remains one of the strongest competitive film programs in the nation, and is the foundation for both the current and future development of the state’s film, television and music industries. CAMERA READY WORKFORCE Oklahoma’s skilled, talented workforce is essential in supporting the state’s film and television industry. It takes a village to make a movie, and job opportunities extend far beyond what is seen on-screen with nearly every imaginable trade playing a pivotal role in this industry. See page two of this document for an extended list of job opportunities! EDUCATION + RECRUITMENT You can turn your hobby or profession into a sustainable career in the Oklahoma film industry where there’s a place for everyone! For some, on-set experience can be the best form of education while others may prefer the film education programs available through Oklahoma’s wide variety of esteemed universities, colleges, trade-schools and more. -
Terminator 2: Judgment Day"
"TERMINATOR 2: JUDGMENT DAY" a Screenplay by James Cameron and William Wisher Revised final shooting script ---------------------------------------------------------------------------- 1 EXT. CITY STREET - DAY Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they move in herds among the glittering rows of cars jammed bumper to bumper. Heat ripples distort the torrent of faces. The image is surreal, dreamy... and like a dream it begins very slowly to DISSOLVE TO: 2 EXT. CITY RUINS - NIGHT Same spot as the last shot, but now it is a landscape in Hell. The cars are stopped in rusted rows, still bumper to bumper. The skyline of buildings beyond has been shattered by some unimaginable force like a row of kicked-down sandcastles. Wind blows through the desolation, keening with the sound of ten million dead souls. It scurries the ashes into drifts, stark white in the moonlight against the charred rubble. A TITLE CARD FADES IN: LOS ANGELES, July 11, 2029 3 ANGLE ON a heap of fire-blackened human bones. Beyond the mound is a vast tundra of skulls and shattered concrete. The rush hour crowd burned down in their tracks. 4 WE DISSOLVE TO a playground... where intense heat has half-melted the jungle gym, the blast has warped the swing set, the merry-go-round has sagged in the firestorm. Small skulls look accusingly from the ash-drifts. WE HEAR the distant echo of children's voices... playing and laughing in the sun. A silly, sing-songy rhyme as WE TRACKS SLOWLY over seared asphalt where the faint hieroglyphs of hopscotch lines are still visible. -
Student Handbook
STUDENT HANDBOOK VOL. 5, Spring 2018 TABLE OF CONTENTS SUGGESTED 4-YEAR DEGREE PLAN 3 CLASS ROTATIONS 4 PRODUCTION COURSE FLOWCART 4 ACKNOWLEDGEMENT OF STUDENT OWNERSHIP 5 OUTSIDE WORK 5 PROFESSIONALISM STATEMENT 6 WRITING, RESEARCH, AND ACADEMIC INTEGRITY 7 HELPFUL FILM STUDIES LINKS 8 FILM SCREENINGS 9 SIGHT AND SOUND TOP 50 FILMS OF ALL TIME 10 FILM CREWS AND CREWING 11 EQUIPMENT USAGE AGREEMENT 12 EQUIPMENT ROOM MISSION AND POLICIES 13 FILM 282/382/482 CHECK IN/OUT PROTOCOL 15 CAMPUS AND LOCATION FILMING 18 PRODUCTION EXPENSES 19 PRODUCTION INSURANCE 19 FILM 482 ONLY: WEAPONS USE POLICY 20 FILM 482 ONLY: GUN USE PROTOCOL 21 TITLE AND CREDIT PROTOCOL 22 SUGGESTED 4-YEAR DEGREE PLAN FRESHMAN YEAR FALL SPRING ! FILM 155 ! ENG 100 ! FILM 155 ! ENG 200 ! FILM 100 ! COMM 145 ! FILM 202 ! COLONNADE II, SB ! FILM 201 ! COLONNADE I, QR ! FILM 250 ! COLONNADE II, NS SOPHOMORE YEAR FALL SPRING ! FILM 155 ! HIST 101/102 ! FILM 155 ! MINOR ! FILM 282 ! COLONNADE II, NS ! FILM 376/378/BCOM 380 ! MINOR BCOM 366 FOREIGN LANG. STUDIES ELECTIVE GENERAL ELECTIVE ! ! ! ! JUNIOR YEAR FALL SPRING ! FILM 369 ! ENG 300 ! STUDIES ELECTIVE ! COLONNADE III GENERAL ELECTIVE ! FILM 382 ! COLONNADE III ! ! MINOR ! MINOR ! MINOR SENIOR YEAR FALL SPRING FILM 377/379/BCOM 480 COLONNADE III FILM 486 MINOR ! ! ! ! GENERAL ELECTIVE MINOR FILM 482/STUDIES GENERAL ELECTIVE ! ! ! ! GENERAL ELECTIVE GENERAL ELECTIVE ! ! " REQUIRED " ELECTIVE " COLONNADE " MINOR " GENERAL ELECTIVE THE FILM FACULTY RECOMMEND NOT TAKING ADDITIONAL PRODUCTION COURSES DURING FILM 282, 382, OR -
DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry. -
ROMEO and JULIET ILLINOIS THEATRE by William Shakespeare | Robert G
ROMEO AND JULIET ILLINOIS THEATRE By William Shakespeare | Robert G. Anderson, director Thursday-Saturday, March 2-4, 2017, at 7pm and 9:30pm Thursday-Saturday, March 9-11, 2017, at 7pm and 9:30pm Sunday, March 12, 2017, at 3pm and 5:30pm Colwell Playhouse season. What kinds of work do our students need to create at this point in their artistic development? Which plays or musicals feed that pedagogical imperative? And how do these works allow, encourage, or (sometimes) confound our ability to understand a bit more about the nature of human becoming? When we leave the theatre, do we feel more closely bound to our neighbors? If we feel alienated by the experience, do we understand why? It is no accident that this note of welcome to our current season includes a litany of questions. Intellectual, emotional, and spiritual query are at the core of a great education. At Illinois Theatre, “we make BECOMING . theatre makers,” but we also ask foundational There is a saying in theatre: “Actors act. questions on our pathways to creation. Stars do what stars do.” Implicit in this Along the way, we learn to think more statement is the idea that “stars” are deeply, critically, and analytically. commodities enriched for attaining a Questions about the nature of the human certain status and function within a rather condition are never easy to resolve. The narrow definition, while “actors”—and challenging road to the answers we seek every artist, one might argue—are encourages public discourse to thrive and continually in a process of becoming. -
Collective Agreement Film
Collective Agreement Film between Alliance québécoise des techniciens de l’image et du son and Association québécoise de la production médiatique From October 5, 2015 to September 30, 2018 Table of Contents Chapter 1 Purpose and Scope of Application ................................................................................1 1.1 Purpose .................................................................................................................................................... 1 1.2 Scope of Application ................................................................................................................................ 1 1.3 Producers Bound ..................................................................................................................................... 1 1.4 Employees Not Covered .......................................................................................................................... 1 1.5 Trainees and Apprentices Not Covered ................................................................................................... 1 1.6 Foreign Resident ...................................................................................................................................... 1 1.7 Quebec Resident ...................................................................................................................................... 2 1.8 Application to Live Performance Recordings ........................................................................................... 2 1.9