DOCSLIB.ORG

SHOOT E.Dition, Dec. 2, 2005, Vol. 46 No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SHOOT E.Dition, Dec. 2, 2005, Vol. 46 No www.shootonline.com THE LEADING NEWSWEEKLY FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION $5.00 DECEMBER 2.2005 This Is N.Y. Spot Week Number Of Spots In AAAA Tax Credit Study Database Is Declining In Offing? By Robert Goldrich This Statistic Looms As Significant In The Annual TV Prodn. Cost NEW YORK—Momentum 4 Rhinofx Has Got Game For Survey; Decrease Suggests Clients Are Investing In Alternate Media is building for legislation that ATI Technologies would create a New York State 4 CFM Lands Palminteri, By Robert Goldrich NEW YORK—Whereas commercials—that’s 58 more spots than in 2003 tax credit targeting commercials. Johnson For Spots the typical marquee find- based on returns from 19 agencies. The bill’s backers hope to have it 4 Directors Moland, Kates Join ing in the American Association However when looking over the voted on by the legislature dur- The Joneses of Advertising Agencies’ (AAAA) past four years, the tally of nation- ing its next session, which begins annual Television Production Cost al commercials being produced, in January. 4 Three Editors Chose Cosmo th Street Address Survey—which is in its 18 year— as reported in the study, is steadily Thanks in part to lobby- has been, for better or worse depend- declining. In 2001, per the AAAA ing efforts by the Association ScreenWork ing on your viewpoint, the average survey, there were 1,741 TV spots. of Independent Commercial cost to produce a national 30-second In ’02, the total was 1,725. When Producers (AICP) over the past 12 Top Spot: Goodby Stands TV spot, now the spotlight shifts to ’03 came in at 1,521 spots, there year, the idea of a spot production “Tall” For Comcast/PBS a bigger picture perspective, namely was conjecture that advertisers from incentive initiative has gained 13 Best Work: Aardman Animations, the number of commercials this and some product categories might have significant bipartisan support in BBH “Keep Walking” other averages are based upon. started up their activity later in cal- both the New York Assembly The latest AAAA study, which endar year ’03 and continued it into and Senate. Firmly in place as 13 Best Work: Karen Carter covers calendar year 2004 as report- ’04. It was too early, said some, to Continued on page 25 Promotes Children’s Film Fest ed by 20 participating ad agencies pinpoint a trend—the ’04 numbers 14 iWork: Ground Zero Exercises and branch offices (including most of the country’s would be more telling. Now that this tally is Chernoff “Music Muscle” For Virgin top 20 shops), shows a total pool of 1,579 national Continued on page 6 Becomes AGENCY OF MTI’s CEO THE YEAR VES Set To Honor Lasseter, Morris By Carolyn Giardina at Pixar Animation Studios and growth in the visual effects art By Carolyn Giardina LOS ANGELES—The Visual former Lucasfilm president—has form. He actually served three PROVIDENCE, R.I.— 17 SHOOT shines the spotlight Effects Society (VES) announced been chosen to receive the Board terms as chair. “Jim’s manage- Postproduction industry veteran on Crispin Porter + Bogusky, that Pixar Animation Studios’ of Directors Award at the 4th ment experience was vital in Larry Chernoff is the new CEO saluting the shop’s work for two-time Academy Award-win- Annual VES Awards on Feb. 15, creating a strong organizational of Mathematical Technologies Burger King, Mini and oth- ning filmmaker John Lasseter, 2006 in Hollywood. The annual foundation for the VES while his Inc. (MTI), a Providence-head- ers. Also included is a look whose credits include direction awards competition honors visu- exceptional reputation in the field quartered manufacturer of tools to at the agency’s integrated of defining computer animat- al effects excellence in features, served as the key recruiting force assist the Digital Intermediate (DI) production department, and ed feature Toy Story, has been TV, commercials, music videos for membership,” said current and film restoration processes. a chat with Miles Nadal of selected to receive the organiza- and games. VES chair Carl Rosendahl. “The Chernoff, who will be based in MDC Partners, which holds tion’s Georges Melies Award for Morris will be honored for VES’ continued success can truly the company’s Hollywood office, a stake in CP+B as well Artistic Excellence; and that VES his role as the founding chair of be attributed to his vision and has been a member of the MTI as several other creative founding chair Jim Morris—pro- VES, an organization started in steering.” board of directors for the past three shops. ducer and production executive 1997 in response to the explosive Continued on page 10 Continued on page 10 spot.com.mentary By Robert Goldrich Perseverance ust a little more than took a proactive stance chance to have a spots-only upcoming proposed state budget president/CEO Matt Miller said a year ago, the com- to remedy the situation. bill pushed through earlier this currently being worked on by the that this decline underscores the Jmercialmaking com- During its December year. While that didn’t come to governor’s office. need for New York to implement munity in New York was 2004 meeting in Los pass, the foundation had been The AICP can make a strong incentives. understandably disap- Angeles, the AICP laid for another bid, which now case for the passage of a tax cred- Supporters of the tax credit for pointed over the passage national board offered looks encouraging (see page one it for commercials. The passage commercials hope to bring the of landmark tax credit full support for an effort story). of the tax credit for features and bill up for a vote during the New legislation designed to to help bring about a For example, during the television has served as a catalyst York legislature’s next session, encourage filming in the New York tax incen- first go-around this past spring, helping to significantly increase which begins in January. While Empire State. Theatrical features tive bill specifically designed for Assemblyman Joseph Morelle movie and TV program produc- a lot can happen in the give-and- and TV programs, including tele- commercials. For one, the board (D-Rochester) enlisted more tion in New York, boosting the take political wrangling that goes films and series, were deemed approved the hiring of a major than 20 other State Assembly state economy. into arriving at a state budget, tax qualifying projects for the incen- national lobbying firm, Wilson, co-sponsors of the measure. Now Meanwhile spot production credit proponents seem guard- tive. But conspicuous by their Elser, Moscowitz, Edelman & the anti-runaway legislation has decreased in New York. edly optimistic over the pros- absence were commercials, a Dicker, which helped open some has as its two major sponsors According to the independently pects of their measure gaining perennial New York business doors in Albany, enabling the Assemblyman Morelle and Sen. conducted third annual survey passage. Just getting to this point mainstay. AICP to present its case to leg- Martin Golden (R-Brooklyn), of AICP member companies, says much for the power of per- The exclusion of spots was islators regarding the importance with legislators in both houses Los Angeles’ share of spot shoot severance and the commercial all the more ironic in that New of commercialmaking to the New on board. days in the U.S. rose from 46 community’s resolve. York, home to Madison Avenue, York economy. The next key hurdle for the percent in 2003 to 53 percent in is synonymous with the adver- Bipartisan support was bill’s backers is to bring Gov. ’04. However, New York showed tising industry. The Association drummed up in both the New George Pataki’s camp into the a decrease from 21 to 18 per- of Independent Commercial York Assembly and Senate, to equation so that the legislation’s cent during that same time frame Producers (AICP) immediately the point where there was a real cost is incorporated into the (SHOOT, 10/21, p. 40). AICP THE LEADING NEWSWEEKLY FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION December 2, 2005 Production POV By Carey Melcher Volume 46 • Number 39 EDITORIAL Publisher & Editorial Director • Roberta Griefer Great Production Support Remains Paramount 203.227.1699 ext 13 • [email protected] Editor • Robert Goldrich ’ve always made it a habit to for the next “hot” director who will the most high profile campaigns things that add up big in the end. 818.884.2440 • [email protected] read the various commercial propel their company from the “B” during any given period. The ability to package the produc- Senior Editor/Creative & Production • Kristin Wilcha Itrade publications. It keeps me list to “A level” in the minds of Obviously, the director should tion while supporting the director, 203.227.1699 ext 16 • [email protected] on top of what both the production agency creatives. remain at the top of the food chain. finding the right balance between Sr. Editor/Technology & Postproduction • Carolyn Giardina 310.664.0848 • [email protected] and agency sides of the business The trades chronicle this quest, But lost in all this coverage is one having enough money for the pro- Reporter/Associate Online Editor • Emily Vines are up to. giving us lots of interviews with simple truth; show me a successful duction and having something left 310.452.8917 • [email protected] Contributors The business model for a com- agency art directors, producers and production company with any kind over for the company. It’s ask- Christine Champagne, Bill Dunlap, Art Smith, Tom Soter mercial production company creative directors that clue us in on of longevity and I’ll show you a ing oneself the toughest question; ADVERTISING hasn’t changed much in the 19 what they are looking for.
Load more

Recommended publications
  • Film Incentive Bc
    FILM INCENTIVE BC GENERAL ELIGIBILITY RULES Production corporations and their productions must meet Film Incentive BC (FIBC) is an economic initiative designed the following minimum conditions to qualify for FIBC: to encourage film, television, digital animation and visual • The production corporation claiming the tax credit effects production in British Columbia. Eligible applicants must be a BC-based Canadian-controlled corporation; are film, television and animation production corporations • The “producer” of the production must be a BC-based with a permanent establishment in BC that are owned individual who is a Canadian; and controlled by Canadians, and have incurred qualifying • The production must be Canadian content; labour expenses in British Columbia. • More than 50% of the copyright of the production HOW FIBC WORKS must be owned by the BC-based Canadian-controlled corporation; FIBC is a refundable corporate income tax credit. When • At least 75% of the principal photography days of the filing tax returns, production corporations may claim a production must be done in British Columbia; specified percentage of the labour costs incurred in • At least 75% of the cost of production must be paid to making film, television, digital animation or visual effects BC-based individuals or corporations; productions. The credits are applied to reduce tax payable, • At least 75% of the cost of post-production work for and any remaining balance is paid to the corporation. the production must be carried out in British Columbia; • The production must be completed within 24 months The production corporation must apply to CREATIVE BC of the end of the taxation year in which principal to receive an eligibility certificate and a completion photography began; certificate for the production.
    [Show full text]
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • A Practical Study of the Role of the Cinematographer
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2005 A Practical Study of the Role of the Cinematographer Ryan Martin University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Martin, Ryan, "A Practical Study of the Role of the Cinematographer" (2005). University of New Orleans Theses and Dissertations. 227. https://scholarworks.uno.edu/td/227 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. A PRACTICAL STUDY OF THE ROLE OF THE CINEMATOGRAPHER A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Drama and Communications by Ryan H. Martin B.A. Loyola University of New Orleans, 2002 May, 2005 Copyright 2005, Ryan H. Martin ii ACKNOWLEDGEMENTS I would like to thank the members of my thesis committee, J.
    [Show full text]
  • HAS WRAPPED PRINCIPAL PHOTOGRAPHY on LOCATION in NEW MEXICO State Provides "The Rugged Scope" Story Demands
    Michelle Lujan Grisham Governor Alicia J. Keyes Cabinet Secretary Todd Christensen Director FOR IMMEDIATE RELEASE: Bruce Krasnow July 2, 2019 (505) 827-0226, cell: (505) 795-0119 [email protected] “THOSE WHO WISH ME DEAD” HAS WRAPPED PRINCIPAL PHOTOGRAPHY ON LOCATION IN NEW MEXICO State provides "the rugged scope" story demands SANTA FE, N.M. - New Mexico Film Office Director Todd Christensen announced that the feature “Those Who Wish Me Dead," produced by Film Rites and BRON Studios, has concluded principal photography on locations thoughout New Mexico. Creative Wealth Media is co-financing the project with New Line Cinema, while Warner Bros. Pictures is handling marketing and distribution. During principal photography the production employed approximately 675 New Mexico residents among its cast and crew. The project shot on locations in and around Bernalillo, Torrance, Sandoval, and Rio Arriba counties, including Santa Clara Pueblo. “Those Who Wish Me Dead” is a female-driven neo-Western set against a wildfire in the Montana wilderness. The film is directed by Academy Award nominee Taylor Sheridan (“Wind River”; screenwriter “Hell or High Water,” “Sicario”), from his screenplay based on Michael Kortya's bestselling novel, previously adapted by Charles Leavitt and Michael Koryta. Sheridan is producing with Garrett Basch, Steven Zaillian, and BRON Studios’ Aaron L. Gilbert (“The Mule,” “Tully,” “Fences”) and Kevin Turen (“All is Lost,” “Arbitrage”). Executive Producers include Jason Cloth (“The Mule,” “A Simple Favor,” “Fences”)
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • APPLICATION for PRINCIPAL PHOTGRAPHY PERMIT Village of Sagaponack PO Box 600 Sagaponack, NY 11962 631-537-0017 631-537-0612 (FAX)
    APPLICATION FOR PRINCIPAL PHOTGRAPHY PERMIT Village of Sagaponack PO Box 600 Sagaponack, NY 11962 631-537-0017 631-537-0612 (FAX) ************************************************************************************************* Approval: Board of Trustees Application No:_____________ Date:___________________________ Permit Fee: ________________ Permit No: ________________ Date Issued: _______________ ************************************************************************************************* INSTRUCTIONS A. Form must be completed by typewriter or printed in ink. B. This application will be deemed incomplete and will not be processed unless fully and clearly completed. C. If applicant is not the owner of the property where event is to be held, please include Sagaponack Village Owner’s Consent form. D. Acknowledgement that applicant has read Chapter 79 Filming and Photography. E. If applicable, a drawing or site plan of layout of event. F. Application fee of $500.00 and any additional fees according to Chapter 79. G. Certificate of Insurance and indemnification as per Section 79-9 of the Village Code. Name of Applicant and/or Production Company:_______________________________________________________ Contact Person:_________________________________________________________________________________ Contact Information: Mailing address:____________________________________________________________________________ Residence or Business address:________________________________________________________________ Phone Number:___________________________________
    [Show full text]
  • Tear-Out Checklist
    Tear-Out Checklist Be Prepared Director’s “Perfect Shoot” Checklist Standard Filming Procedures o Film site has been scouted and is available & ready o Storyboard & script reviewed and in hand o o Props for the scene(s) are available (as needed) o Talent is prepped, practiced, and ready to go o All equipment required for the shoot has been obtained (as necessary), this includes specialty equipment (i.e. extra lighting, truck, dolly, etc.) o Tape is in the camera & cued to blank area before recording oration f o Camera is in the record mode o Camera is stabilized (normally with a tripod) for a steady shot Per o Camera is positioned correctly in relation to the target and background g o Cameraman is using the “rule of thirds” to align all visual elements on screen (background and foreground) o Background looks good o Microphones & headphones are plugged in and working (as required) o o Sound is good Tear Alon o Target is well lit without any backlighting problems o Lights & reflectors are used to light foreground/background (as needed) o Lighting is good o o While filming, use your shotsheet to assure you are getting all the shots you need o o Cameraman is viewing through the camera’s LCD screen while filming o Cameraman hits RECORD & assures talent does a 5 second verbal countdown (5, 4, 3, 2, 1, pause, start talking) o Cameraman “leads” the target with the camera (remember “look-room” & “lead-room”) o o Cameraman double checks the filmed scene to assure it is good prior to leaving the shoot location o Camera, microphones, & other equipment
    [Show full text]
  • Appendix a to Program Guidelines
    NEW YORK STATE FILM TAX CREDIT PROGRAM APPENDIX A TO PROGRAM GUIDELINES Glossary of Key Terms and Definitions The Film Tax Credit Program contains many key terms and definitions that are used in the Guidelines, statute, regulations and documents that comprise the application. These terms and definitions are organized alphabetically for reference purposes: Above the Line refers generally to expenditures such as rights to the script (and source material), compensation for the screenwriter, producer, director, principal actors and other line items such as casting. Above-the-line employees on a film project generally refers to the individuals who guide and control the creative direction and process of a film and their related expenditures. Above the line employees and costs are generally not qualified for the NYS Film Tax Credit. See the SCHEDULE OF EXPENDITURES for a detailed listing of costs that are qualified and non-qualified. Above the Line – Qualified NY Employees refers to the number of Above the Line NY Production Employees, whether resident or not, whose wages or salaries qualify for the credit. Additional Photography, or Reshoot, refers to camera roll days that occur after the main contiguous schedule of principal and ongoing photography. This additional photography or reshoot could be considered part of Principal Photography and Ongoing Photography if certain conditions are met and, in such instances, would be included in calculations affecting the Location Days threshold. Additional Principal Photography / Second Unit Start Date is the first date on which either Second (2nd) Unit (or other additional photography that does not include the main actors) begins; or when the lead actors are reconvened for Principal Photography 'reshoots' or additional scenes that were not part of the initial phase of principal and ongoing photography.
    [Show full text]
  • Rupture and Recuperation
    Rupture and Recuperation: Technological Traces in Digital Narrative Cinema. Submitted for the consideration of the qualification of Doctor of Philosophy School of English Literature, Language and Linguistics Newcastle University 9 March 2015 Joseph Frank Barton Student No. 070791576 i ABSTRACT In this thesis I analyse visual traces of digital technologies in narrative cinema as a way of exploring broader questions about the medium and the cultural status of its technological constituents. In so doing, I not only identify a number of areas of filmmaking that are currently under-researched or overlooked, but move the focus away from the questions of what digitisation means for cinema’s ‘identity’, and towards a consideration of how the implications of digitisation are at once exaggerated in rhetoric and tempered in practice by aesthetic, ideological, and economic factors. To do this, I focus on recent narrative films (1998-2013) in which digital filmmaking technologies are themselves salient features of the cinematic image. I argue that initial appearances of these digital traces are presented and received as disruptive, in that they appear to symbolise both a break with the ontological assumptions of cinema, and the potential to re-imagine the very notion of the medium itself. However, I demonstrate how each of these disruptions are, to differing extents, soon absorbed into the conventional formal structures of narrative cinema, such that their ultimate effect on the medium is to broaden its stylistic palate rather than to radically transform its identity. In so doing, I make four main scholarly contributions. Firstly, I provide an account of digital cinema contextualised in relation to the broader use of digital image technologies over this time period.
    [Show full text]
  • Ghost Director. Did Hooper Or Spielberg Direct Poltergeist?
    Warren Buckland Ghost Director Did Hooper or Spielberg Direct Poltergeist? Spielberg released two films in 1982 – E.T., which he directed but did not write; and Poltergeist, which he wrote and produced but did not direct (he hired Tobe Hooper). But controversy surrounds Spielberg’s actual role on Poltergeist. Before the film’s release, Dale Pollock noted that “Spielberg will … be pacing the list of horror films with ‘Poltergeist’, which he produced (and according to reports, largely directed)” (1982a: H1). In his biography of Spielberg, Joseph McBride (1987) argues that “[Spielberg’s] involvement on Poltergeist was unusu- ally intense for a producer and writer. … It was generally believed in Holly- wood that Spielberg simply moved in and took over the film creatively” (336). And in The Guardian a few years ago, David Thomson (2002) chipped in: “it is pretty well agreed now that [Poltergeist] deserves to be read as a Spielberg work”. The language of these critics is equivocal: “according to reports”; “It was generally believed”; “it is pretty well agreed”; and their aesthetic evalua- tions of the film are vague and impressionistic. Spielberg spelled out the nature of his collaboration with Hooper: “[Tobe Hooper is] just not a strong presence on a movie set. If a question was asked and an answer wasn’t immediately forthcoming, I’d jump up and say what we could do. Tobe would nod in agreement, and that became the process of the collaboration. I did not want to direct the movie – I had to do ‘E.T.’ five weeks after principal photography on ‘Poltergeist’” (quoted in Pollock 1982b: G2; emphases in the original).
    [Show full text]
  • Camera Basics, Principles and Techniques –MCD 401 Organized By:-Rao Rajpoot Muhammad Bilal 0306-8994125, April 21, 2019 Topic No
    Camera Basics, Principles and Techniques –MCD 401 Organized by:-Rao Rajpoot Muhammad Bilal 0306-8994125, April 21, 2019 Topic no. 1 PHOTOGRAPHY PART I Whether you're hanging out with friends on the beach or reading about the history of the 1930s, photography will likely make an appearance. The oldest known photograph dates back to 1826, but the structure that would become the first camera was described by Aristotle. The process of taking pictures has become increasingly refined during the 19th century, transitioning from heavy glass plates to light, gelatin-coated flexible film. Today, once-innovative film cameras take a back seat to the convenience and ease of digital cameras. Photography is a fun form of art and many people are engaged in it. This is because of the wide form of artistry it can create with the uniqueness of every shot. People around the globe have appreciated the aftermaths of amazing photography. Do you know what makes these photos look amazingly stunning? It is because of the photography composition each one has. It would indeed be futile if you take shots without considering photography composition. You will not be able to give your images a perfect beauty without it. There are some photography composition techniques that one can do but it is the photographer’s touch and creativity that makes each output unique. 1. It creates more appealing photos 2. To deliver a more convincing story 3. It looks more professional. 4. It has balance 5. It makes unique pictures 6. It shows a personality7. It adds more life to images 8.
    [Show full text]
  • A Brief Glossary of Key Cinematic Terms Yes, You Must Study the Images As Well!
    A Brief Glossary of Key Cinematic Terms Yes, you must study the images as well! Academy Awards--Prizes of merit given in a number of categories (e.g. Best Picture, Actor, Actress, Director, Cinematography, Music, etc.) by the Academy of Motion Pictures Arts and Sciences--a professional association of people directly involved in the production of motion pictures. To qualify for the award, the film must have been released in Los Angeles during the preceding calendar year. The award itself takes the form of a statuette (of little monetary value) called an Oscar. Actual Sound--Sound recording made on location to add authenticity to the sound track. Usually the sound recordist will ask everybody to remain absolutely quiet for a short time while the recording is made. Adaptation--The use of literary material (novels, short stories, etc) in the making of a film. The adaptation process involves obtaining the rights to the material from its owners, and hiring someone to write the screenplay. Ambient Light--Existing or natural light that surrounds a subject. Ambient Sound—In filmmaking, ambient sound is that part of the film’s sound track that provides authenticity to the location of a scene—e.g., depending on what the scene is, traffic noise, footsteps, birds chirping, children playing, water dripping, etc. Animation--The creation of life-like motion in inanimate objects (cartoon drawings, graphics, clay-models, etc.) via motion-picture photography. Answer Print--The first completed print with all the color values properly corrected received from the film lab. After it is approved by the producer, director and cinematographer it will serve as the basis for making release prints for distribution to movie theatres.
    [Show full text]