FILM PRODUCTION All American High School Film Festival ARTS & COMMUNICATION

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FILM PRODUCTION All American High School Film Festival ARTS & COMMUNICATION

Student Organizations Quiet Corner Film Festival, Student Television Network, NFFTY, FILM PRODUCTION All American High School Film Festival ARTS & COMMUNICATION CAREER PATHWAYS Updated 1/2020* Killingly High School Ms. Donna Grant, LMSW, Career Center Coordinator 860-779-6663 • [email protected] Killingly High School 226 Putnam Pike, Dayville, CT 06241 • www.killinglyschools.org Career Pathway: Film Production FILM PRODUCTION Career Cluster: Arts & Communication Students interested in the Film Production Pathway will have an To complete the Film Production Career Pathway, students must complete each of opportunity to submit their finished the five required courses within Section 1 and 1.5 credits from Section 2. films to Killingly’s own Quiet Corner To complete this Advanced Pathway, students must complete all required courses Film Festival where they will compete in section 1 and earn a total of 4 credits in Section 2. against other area high school filmmakers. The QCFF was created for the public exhibition of short films created by aspiring student filmmakers Section 1- Required Courses Credits Earned at KHS College Credits Earned who want to bring their imagination, Intro to Video Technology .5 vision and filmmaking skills to life. Advanced Video & Effects .5 Editing Occupations Related to the Film Film Production 1 Production Pathway: Producer, Director, Director of Photography, Digital Photography I .5 Cinematographer, Screenwriter, Graphic Design I .5 Camera Operator, Grip, Gaffer, Editor, (This requirement will be Field Recording Mixer, Re-recording PGR 1.8 – Job Shadow in Film implemented for all students Mixer, Film Editor, Production Designer, Production in the graduating class of 2021 Set Designer, Makeup Artist, Visual and beyond) Effects Artist, Music Supervisor, Section 2- Additional Courses Credits Earned at KHS Composer Music Technology I .5 Units Covered: Basic Concepts & Music Technology II .5 Equipment, Film Theory: Montage, Theater Arts I .5 Mise en Scene, Kuleshov Effect, Preproduction: Genre, Story, Character, Theater Arts II .5 Script Writing, Production: Casting, Sociology .5 Location Scouting, Filming, Post Psychology .5 Production: A/V Syncing, Editing & Compositing, Audio Mixing, Graphics, Contemporary Issues .5 Distribution Creative Writing .5 Communications & Speech .5 Professional Organizations This Pathway Opens to You: Digital Photography II .5 SAG-AFTRA, Academy of Motion Graphic Design II .5 Picture Arts & Sciences, Writers Intro to Data Science .5 Guild of America, American Society of App Creators .5 Cinematographers Film Production Teacher: Mr. Dan Durand, Room 1716 [email protected].

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Apichatpong Weerasethakul
UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners.
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List of Sunlight Media Collective Members & Board Sunlight Media
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The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film.
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Evening Filmmaking Workshop
FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor.
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22 4-110 WORK in EXCESS of 18 HOURS on Any Day Where a Director Works in Excess of Eighteen (18) Hours, the Producer, at Its Ex
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Protocol for Filming During the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP)
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Bfi-Teaching-Film-Language-Sound
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Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community
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Seattle Location Management and Scouting
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Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
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Duties of a Cinematographer in Creating a Film
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Elegies to Cinematography: the Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University
CHAPTER SEVEN Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars Jamie Clarke Southampton Solent University Introduction In 2013, the magazine Blouinartinfo.com interviewed Christopher Doyle, the firebrand cinematographer renowned for his lusciously visualised collaborations with Wong Kar Wai. Asked about the recent award of the best cinematography Oscar to Claudio Miranda’s work on Life of Pi (2012), Doyle’s response indicates that the idea of collegiate collaboration within the cinematographic community might have been overstated. Here is Doyle: Okay. I’m trying to work out how to say this most politely … I’m sure he’s a wonderful guy … but since 97 per cent of the film is not under his control, what the fuck are you talking about cinematography ... I think it’s a fucking insult to cinematography … The award is given to the technicians … it’s not to the cinematographer … If it were me … How to cite this book chapter: Clarke, J. 2017. Elegies to Cinematography: The Digital Workflow, Digital Naturalism and Recent Best Cinematography Oscars. In: Graham, J. and Gandini, A. (eds.). Collaborative Production in the Creative Industries. Pp. 105–123. London: University of Westminster Press. DOI: https://doi.org/10.16997/book4.g. License: CC-BY-NC-ND 4.0 106 Collaborative Production in the Creative Industries I wouldn’t even turn up. Because sorry, cinematography? Really? (Cited in Gaskin, 2013) Irrespective of the technicolor language, Doyle’s position appeals to a tradi- tional and romantic view of cinematography. This position views the look of film as conceived in the exclusive monogamy the cinematographer has histori- cally enjoyed on-set with the director during principal photography.
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