Film and Digital Media Department Handbook 2020-2021
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Nathan Frost
www.nathanfrostcine.com | [email protected] l (778) 953 5472 Nathan Frost EDUCATION Bachelor of Social Science Pscyhology (Swinburne University of Technology) Certificate III in Film & Media (QSFT) HSK 3 Mandarin (90% Score) CERTIFICATES AND SKILLS - Extensive Lighting knowledge. - Large scale lighting setup, power distribution and installations. - Inter-department communication and organization - Ronin Gimble Systems - Machine Operation & Rigging Experience ( Genie, Manitou, Forklift, Scissor Lifts) OVERVIEW OF PAST RESPONSIBILITIES: (See the next pages for detailed production listing) *** Most Lighting Experience is based around the European standard; so included in the experience is Diffusion, Negative Fill, Cutting & Rigging. EXPERIENCE FEATURE ROLE PRODUCTION DP COMPANY Into Black(2018) DP(Operator) JayGlenn Pipe Dreams DP(Operator) Revenue (2015) Factory Productions Hand of Art Co-DP(Lighting Inside out Studio (2012) Director) Pacific Rim 2 Legendary -DP Dan Mindell ASC, BCS Senior lighting Studios Gaffer Chris Prampin/Shaun Technician Conway Bullets for the Gaffer 2nd Unit Visionquest Intl -DP Andrew Conder ACS Dead The Turning Best Boy Madman -DP Robert Humphreys ACS, (Immunity Entertainment Gaffer Chris Walsingham segment) Harrow Season 1 Best Boy Hoodlum -DP Robert Humphreys ACS, Ep-1-5 Entertainment Gaffer Mark Glinderman Alien: Covenant Lighting Scott Free -DP Darius Wolski ASC Technician Productions -Gaffer Shaun Conway [email protected] l (778) 953 5472 www.nathanfrostcine.com | [email protected] l (778) 953 5472 (Main Unit – on set) King Kong: Skull Lighting Legendary -DP Larry Fong ASC, Island Technician Gaffer Shaun Conway (Main unit - onset) San Andreas Lighting Village -DP Steve Yedlin, Technician (Main Roadshow Gaffer Reg Garside Unit – on set) Studios HackSaw Ridge Lighting Cosmos Films -DP Simon Duggan ACS, Technician Gaffer Shaun Conway (Main Unit – on set) Boar Lighting Slaughter FX -DP Andy Conder ACS, Technician Gaffer; Adam Williamson. -
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. -
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 -
Glossary of Filmmaker Terms
Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors. -
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. -
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 . -
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. -
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. -
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. -
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. -
A Comprehensive Study on the Marketing Factors of the Recent Bengali Films Considering Indian Movie Industry
IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House A COMPREHENSIVE STUDY ON THE MARKETING FACTORS OF THE RECENT BENGALI FILMS CONSIDERING INDIAN MOVIE INDUSTRY Mr. Jyotirmoy Mazumder, Head,Department of BBA (H), Tarakeswar Degree College, West Bengal, India ======================================================= ABSTRACT Bollywood or Tollywood, both use marketing tools for various promotional factors in film business. Hindi movies have gone global with higher gross income, whereas South Indian films have also reached some clusters to grow business. Various genre films have been produced in top six local language films, except Hindi. Distribution has gone digital, along with increase in multiplex, but unfortunate decrease in single screens pan India. Bengali cinema gained some budget & marketing expenditure to boost its business, increasing the gross income, but far behind from even South Indian film success. Hence, various film promotion techniques are used with increase in audience research, where Word of Mouth plays as a major tool across all demographic levels. Keywords: Marketing, Strategy, Film promotion, language film, genre, film industry, single screen, multiplex, research, brand, Word of Mouth. ================================================= 10 IJFMS Volume 1, Issue 1, May 2014 ISSN 2349-2309 © Blue Square Publishing House Introduction The Journal of the Bengal Motion Pictures Association had coined the word, Tollywood - way back in the thirties- to describe a certain kind of „progressive‟ (read „Westernised‟) cinema produced by Calcutta‟s Tollygunge Studios (Derek Bose 2005). The film industry based in Kolkata, West Bengal, is sometimes referred as "Tollywood", a portmanteau of the words Tollygunge, a neighbourhood of Calcutta where most of the Bengali film studios are located, and Hollywood.