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South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
State of Georgia Audits Division Department of Revenue
State of Georgia Audits Division Department of Revenue GEORGIA FILM PRODUCTION TAX CREDIT GENERAL GUIDELINES 12/14/2018 The following chart represents expenditures that apply only to the film production portion of the Film Tax Credit codified in Code Section 48-7-40.26 (not to the interactive entertainment portion of the Film Tax Credit). This chart does not apply to the Postproduction Film Tax Credit (codified in Code Section 48- 7-40.26A, effective January 1, 2018), or the Musical Tax Credit (codified in Code Section 48-7-40.33, effective January 1, 2018). Any qualified production expenditures claimed under the Postproduction Tax Credit or Musical Tax Credit are not eligible for the Film Tax Credit. The Georgia Department of Revenue has determined the expenditures listed herein are generally "directly used" in a qualified production activity, as defined by Georgia Regulation 560- 7-8-.45, subject to the following overarching guidelines: 1 Actual facts and circumstances. The actual facts and circumstances of the transaction may change the determination. 2 All expenditures must meet any applicable Georgia Department of Economic Development rules included in Chapter 159-1-1. 3 Loanout Companies. All payments to loanout companies for services provided are subject to 6% withholding unless the payment is for reimbursement of expenses that are not required to be included in the loan out withholding amount. 4 Georgia Vendor requirement - Goods. All purchases and rentals of tangible personal property used in the production must be from a qualified Georgia Vendor as defined by Regulaton 560-7-8-.45. 5 Georgia Vendor requirement - Services not at the filming site. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative. -
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 . -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion. -
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 -
Film & Video Resume
719-922-1640 Grant Garrison www.grantgarrison.net [email protected] FILM & TELEVISION RESUME Feature Films: “King Pin” Lead Man - Swing Gang Motion Picture Corporation “The Searchers Pt.2” Weapons & Stunts Jaron Entertainment “Phantom Seductress” Production Designer Mystique Films “Fatal Glance” Visual Effects Dancing Coyote Films “Hidden World” Costume Painter Mark Rappaport Creature F/x “Demon In A Bottle” Miniature Set Design Mark Rappaport Creature F/x “T2 – 3D” Puppeteer Mark Rappaport Creature F/x / Digital Domain “The Glass Cage” Art Director Motion Picture Corporation “Cheyenne” Special F/x Pyrotechnics HALO Pictures / Player Special Effects “Yesterday’s Target” Special F/x Pyrotechnics New Line Cinema / Player Special Effects “The Dream Master” Scenic Sculptor Full Moon Entertainment “Dumb & Dumber” Swing Gang Mojo Films “3 Ninjas Pt. 2” Lead Man - Swing Gang Touchstone Pictures “Puppet Master IV” Art Department Full Moon Entertainment “Puppet Master V” Scenic / Carpenter Full Moon Entertainment “Hybrids” Miniatures / Scenic David Allen Productions “The Call of Mr. Sumatra” Carpenter / Scenic Full Moon Entertainment “Midnight Kiss” Assistant Art Director In The Midnight Hour Productions “Other People’s Secrets” Assistant Art Director Pirate Pictures “The Media Madman” 2nd A.D. The Movie Outfit “Reality and Fantasy” 1st. A.C. Gary Gibb Productions “Trancers IV, V, VI” Art Department / Swing / Scenic Full Moon Entertainment Television and Video Experience: “Longmont Clinic” Grip, Editor, Sound Front Range Media “I am UC -
2021 Permittee Information Book
IATSE LOCAL 856 500-332 Bannatyne Avenue Winnipeg, MB R3B 2M3 Phone: (204) 953-1100 FAX: (204) 953-1109 Website: www.iatse856.com Permittee Information Package For IATSE Local 856 International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada All Applicants must provide proof of successful completion of WHMIS & SET ETIQUETTE Please contact Film Training Manitoba @ 204-989-9669 www.filmtraining.mb.ca /Volumes/Server/Administration/Applications-Form Letters & Information/Permittee Information/2015 Permittee/Permittee Information Package.doc Revised April 2019 IMPORTANT INFORMATION FOR OBTAINING PERMITTEE STATUS WITH IATSE LOCAL 856 This is also an information resource for permittees who are new to I.A.T.S.E. Local 856 and who will be placed on the availability roster that is used for filling work positions. This infoRmation package will define the application pRoceduRe foR Permittee status with IATSE Local 856. Specific depaRtment qualification foRms aRe RequiRed to be completed and returned along with your application form. PREVIOUS EXPERIENCE IS A REQUIREMENT. YOU MAY SUBMIT UPDATED RESUMES AS YOU GAIN NEW EXPERIENCE. RESUMES AND APPLICATIONS ARE USUALLY REVIEWED EVERY THREE TO FOUR MONTHS. YouR chances of being considered for Permittee status and work will be greatly increased if you have curRent production experience – preferably television, theatRe, commercials, documentary, or independent production credits. IF YOU DO NOT HAVE ANY TRAINING OR DIRECT EXPERIENCE IN YOUR FIELD OF CHOICE: • FamiliaRiZe youRself with the job descRiption and the qualifications RequiRed of the DepaRtments that you wish to apply to. • Contact Film Training Manitoba at 989-9669 Regarding TRaining ProgRams. -
The Migration of U.S. Film and Television Production
PREFACE In the early 1990s, important segments of the U.S. film industry became increasingly concerned about the growing loss of film and television production to foreign shores. The phenomenon of “runaway film production” began as a trickle, but has since become a persistent trend that is affecting thousands of jobs in certain segments of the film and television production industry, such as sound engineers, lighting technicians, assistant directors, unit production managers, supporting actors, costume designers, and set designers. In addition, there may be an even greater number of jobs affected that are connected to film and television production, such as caterers, truck drivers, carpenters, electricians, construction workers, hotel employees, and small businesses that provide services or material goods to productions throughout the United States. Some industry observers fear that the exodus of film production could threaten the viability of important segments of the film production industry in the United States, with potentially devastating effects on local communities in many states. Last year, the Department of Commerce was asked to examine the flight of U.S. television and cinematic film production to foreign shores. In September 2000, Commerce received an additional urgent request from a bipartisan group of Members of Congress to ensure that the final report address the following issues: (1) the impact of runaway production on the “below-the-line” employees throughout the United States, including (but not limited to) caterers, -
Attracting Film Production
Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer. -
FILM 5 Budget Example
TFC Production Budget-DETAIL Title: My FILM 5 Movie Budget Dated: 22-Aug-18 Series: Medium/Format: Prodco: Length: 5 mins Location/Studio: Halifax 01.00 STORY RIGHTS/ACQUISITIONS Acct Description CASH 01.01 Story Rights/Acquisitions (0) 01.95 Other (0) TOTAL STORY 01.00 (0) RIGHTS/ACQUISITIONS 02.00 SCENARIO Acct Description # # Units Unit Rate/Amt CASH 02.01 Writer(s) 1 1 --- 0.00 (0) 02.05 Consultant(s) 1 1 --- 0.00 (0) 02.15 Storyboard 1 1 --- 0.00 (0) 02.20 Script Editor(s) 1 1 --- 0.00 (0) 02.25 Research 1 1 --- 0.00 (0) 02.27 Clearances/Searches 1 1 --- 0.00 (0) 02.30 Secretary 1 1 --- 0.00 (0) 02.35 Script Reproduction 1 1 --- 0.00 (0) 02.60 Travel Expenses 1 1 --- 0.00 (0) 02.65 Living Expenses 1 1 --- 0.00 (0) 02.90 Fringe Benefits 0.00 % 0 (0) 02.95 Other 1 1 --- 0.00 (0) 02.00 TOTAL SCENARIO (0) 03.00 DEVELOPMENT COSTS Acct Description CASH 03.01 Preliminary Breakdown/Budget (0) 03.05 Consultant Expenses (0) 03.25 Office Expenses (0) 03.50 Survey/Scouting (0) 03.60 Travel Expenses (0) 03.65 Living Expenses (0) 03.70 Promotion (0) TFC0208-0612 Page 1 of TFC Production Budget-DETAIL 03.95 Other (0) 03.00 TOTAL DEVELOPMENT COSTS (0) 04.00 PRODUCER Acct Description # # Units Unit Rate/Amt CASH 04.01 Executive Producer(s) 1 1 --- 0.00 (0) 04.05 Producer(s) 1 1 --- 0.00 (0) 04.07 Line Producer(s) / Supervising Prod.(s) 1 1 --- 0.00 (0) 04.10 Co-Producer(s) 1 1 --- 0.00 (0) 04.15 Associate Producer(s) 1 1 --- 0.00 (0) 04.25 Producer's Assistant 1 1 --- 0.00 (0) 04.60 Travel Expenses 1 1 --- 0.00 (0) 04.65 Living Expenses 1 1 --- 0.00