DOCSLIB.ORG

Film Vokabel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film Vokabel WORTSCHATZ ZUM FILM * Nota bene: Wörter mit einem Sternchen sind besonders relevant A action (f) Aktion * Action! Action!, Bitte! action movie (m) Aktionfilm * lights, camera, action! Licht! Kamera! Belichtung!/Action! actor, performer (m) Schauspieler (-), r Darsteller (-) film actor, movie actor (m) Filmschauspieler (-) * actors, cast e Darsteller (pl.), (f) Besetzung cast and crew Stab und Besetzung (“crew & cast”) actress, film actress (f) Schauspielerin (-nen), (f) Filmschauspielerin ADR ADR (Automatic Dialogue Replacement, “looping”) anamorphic (adj.) anamorphotisch (wide-screen lens) aperture, f-stop; (light) shade, visor e Blende * The German word Blende can have several meanings in English, depending on the context. It refers to the visor on lights, the aperture of a camera lens, or the fade-in or fade-out of a scene (die Auf-, Abblende) animation, animated film (m) Trickfilm (-e)* arc light (n) Bogenlicht (-er) art direction (in credits) Ausstattung art director, set designer r Filmarchitekt See Academy Awards - Categories artificial light(ing) (n) Kunstlicht * natural light(ing) (n) Tageslicht * aspect ratio (n) Seitenverhältnis (image ratio: 1:1.33 - 4:3, 16:9, etc.) framing (m) Kasch (-s) - round (vignette), square, horiz., vert. B backlighting s Gegenlicht * backstage, behind the scenes hinter den Kulissen Bambi (m) Bambi = German entertainment award (since 1948) Also see: "Golden Bear" das goldene Reh: The Bambi "golden deer" statuette was originally ceramic; gilded bronze since 1958 (see Film Awards for more). Over the years, the "Bambi" prize has gone to many German and international film, TV and music personalities, including Tom Hanks, Bill Clinton (for his charity work), and Elton John. Sponsored by the Hubert Burda media concern, the annual Bambi award ceremony is held in various German cities in November or December. WEB > www.bambi.de (in German) bar (black), stripe (m) Balken (-) Berlin Film Festival e Berlinale (see below) Berlinale e Berlinale: The Berlin International Film Festival is held each year in February. Also see "Golden Bear" below and Film Festivals for more. best boy (m) Best Boy (assists the gaffer, the chief lighting electrician) book (script) (n) Buch, (n) Drehbuch * box office (f) Kinokasse C cameo appearance r Cameo-Auftritt camera e Kamera behind the camera hinter der Kamera cast (f) Besetzung, e Darsteller (pl.) cast and crew Stab und Besetzung (“crew & cast”) casting (n) Casting catering (n) Catering, e Verpflegung censor (m) Zensor censorship (f) Zensur cinema, movie theater (n) Kino (-s), (n) Lichtspieltheater (-) cinematographer, camera man (m) Kameramann cinematography (die) Kamera (in credits) clapper, clapboard, clapperboard, slate (film) e Synchronklappe, e Klappe (-n) close-up (shot) (f) Großaufnahme (-n) * extreme close-up (f) Detailaufnahme (-n) * medium close-up (f) Nahaufnahme (-n) * color temperature e Farbtemperatur (-en) color timer (m) Farbtechniker comedy (f) Komödie (-n) * composer (film music) (m) Komponist The best-known German film music composer today is Hans Zimmer. (German-Hollywood Connection) continuity (script, film) e Überwachung von Details im Film, r Anschluss * credits (film) (m) Abspann * in the credits im Abspann credits (opening) (m) Vorspann * credits (closing) (m) Nachspann * SAMPLE CREDITS (English-German) FILM CREDITS DER ABSPANN Star Wars: Attack of the Clones (2002) Krieg der Sterne: Angriff der Klonkrieger Produced by Rick McCallum, Produzenten: Rick McCallum, George Lucas George Lucas Screenplay by George Lucas Drehbuch: George Lucas Directed by George Lucas Regie: George Lucas Editor: Ben Burtt Schnitt: Ben Burtt Music: John Williams Musik: John Williams Director of Photography: David Tattersall Kamera: David Tattersall Sound Editor: Ben Burtt Ton: Ben Burtt Costume Designer: Trisha Biggar Kostüme: Trisha Biggar Set Design: Peter Walpole Ausstattung: Peter Walpole crew (film) (m) Stab cast and crew Stab und Besetzung (“crew & cast”) cross cut/cutting (m) Kreuzschnitt cut v. cutten, schneiden (film editing) * In German a film editor is der Cutter (m.) or die Cutterin (f.) cut (to) überblenden (zu) (scene change) * cut v. abbrechen (stop the camera) Cut! Schnitt! or Aus! (said by film director) cutting, editing (m) Schnitt (film editing, see credits above) cut (out) herausschneiden (by censor, director) This scene was cut by the censor. Diese Szene hat die Zensur herausgeschnitten. cut adj. gekürzt (shortened), zensiert (censored) That's the cut version of his film. Das ist die gekürzte/zensierte Fassung seines Films. D day for night amerikanische Nacht deep focus breite Schärfentiefe (objects near and far are in focus) depth of field (f) Schärfentiefe dialect coach (m) Dialekt-Trainer digital (adj.) digital director (m) Regisseur, (f) Regisseurin * directed by Regie (in credits) director of photography r Kameramann (in credits) Kamera direct sound, original sound r O-Ton, die O-Töne (pl.) dissolve (n.) (f) Überblendung dissolve (v.) überblenden Also see “fade” below documentary film (m) Dokumentarfilm (-e) * dolly (m) Kamerawagen, r Dolly double (m) Double (body-double, stunt-double, etc.; often pronounced DOO-bel) dub (v.) synchronisieren * dubbed (adj.) synchronisiert dubbing (n.) e (Nach)Synchronisation, e Synchronarbeit * Refers both to foreign-language dubbing and to the normal ADR dubbing done for various scenes. In Germany and Austria all non-German feature films are dubbed into German, while in Switzerland it is more common to use subtitles with the original language sound. E edit (n.) (f) Montage editor, editing (m) Schnitt editor (in credits) Schnitt editor (film) (m) /(f) Cutter(in), r/(f) Filmcutter(in) * effect (n.) der Effekt * effects die Effekte (pl.) * effects (special), FX die special effects (pl.), Spezialeffekte (pl.) * end, the (das) Ende * executive producer (m) Produzent * exterior shot (f) Außenaufnahme (-n) * extra(s) (m) Komparse (-n), (m) Statist (-en) * F fade (n.) (f) Ausblende * fade (v.) ausblenden, blenden * fade in aufblenden * fade out abblenden * fade-out (f) Abblende * fade over weich überblenden * fade to black e Schwarzblende * film, movie (m) Film (-e) * film, shoot (v.) filmen, (einen Film) drehen * film festival (n) Filmfest (-e) filmmaker (m) /(f) Filmschaffende (-n) film ratings board FSK ("Freiwillige Selbstkontrolle" in German) film stock, unexposed film (m) Rohfilm flashback (f) Rückblende (-n) * floodlight, spotlight (m) Scheinwerfer * focal length (lens) (f) Brennweite foley ein Gerät für Toneffekte (named for sound man Jack Foley) foley artist (m) Tontechniker, (m) Ton-Cutter frame (film, video) s Einzelbild, s Bild (-er), (m) Frame frames per second Bilder pro Sekunde framing r Kasch (-s) - round (vignette), square, horiz., vert. Also used as a verb ("to frame"): "Manche kaschen einfach das Bild mit schwarzen Balken ab oder strecken das Bild im Sucher, aufgenommen wird ganz normal mit schwarzen Balken..." G gaffer (m) Chef-Elektriker (chief lighting electrician), (m) Oberbeleuchter gaffer (m) Chef-Elektriker Golden Bear (m) Goldene Bär - name of the German "Oscar" given out at the Berlinale grip (m) Grip (-s) - collective term for workers on film set (Bühne) H hairstylist (f) Friseurin (-nen), r Friseur (-e) happy ending (n) Happyend * I interior shot (f) Innenaufnahme (-n) * intertitles (f) Zwischentitel (pl.) J jump cut (m) Jumpcut, (f) Sprungblende K key grip (m) Hauptgrip, (m) Keygrip L lead/leading role (f) Hauptrolle (-n) * supporting role (f) Nebenrolle (-n) * lens (camera) (n) Objektiv (-e) lighting (f) Beleuchtung * location (m) Drehort (-e) * on location vor Ort, außerhalb des Studios on the set am Set, im Studio location manager, unit manager (m) Aufnahmeleiter (-) location scout (m) Motivsucher, (m) Location Scout long shot, wide shot (f) Totale, (f) Totalaufnahme * M majors (pl.) die großen Filmstudios (MGM/UA, 20th Century Fox, Sony Pictures, Warner Bros., Paramount Pictures, Universal, Disney) makeup (f) Maske, s Makeup * makeup artist (m) Maskenbildner microphone (n) Mikrofon mix v. mischen (sound) mixer (m) Mixer (sound technician) model maker (m) Modellbauer (-) morphing das Morphen/Morphing, Morph-Effekte (pl.) Morphen: Durch Überblenden einer geometrischen Struktur oder eines Bildes kann man Gegestände oder Gesichter verwandeln oder "morphen". MOS “mit out sound” (film term attributed to German actor/director Erich von Stroheim's version of "without sound" for a scene shot without sound) motion picture (m) Film (-e), (m) Streifen (-) * movie, motion picture (m) Film, (m) Streifen movie star (m) Filmstar (-s) * movie theater, cinema s Kino (-s), s Lichtspieltheater (-) * music (f) Musik * musical director (in credits) Musik music editor (in credits) (m) Musik-Schnitt N narration (m) Kommentar * offscreen narration der Off-Kommentar NC-17 frei ab 17 (movie rating) negative (film) (n) Negativ (-e) O off, off-camera, offscreen, offstage s Off, nicht im Bild * offscreen narration der Off-Kommentar offscreen voice eine Stimme aus dem Off original sound, direct sound (m) O-Ton or die O-Töne (pl.) This term also refers to the original-language version of a film, as opposed to the dubbed, foreign-language version. (Also see "dubbing") ADR (automatic dialogue replacement, looping) ADR, e ADR-Synchronisation sound dub/dubbing e Synchronisation original sound with subtitles OmU or O.m.U. (Original mit Untertiteln) Other similar German terms: OF (Originalfassung, original version) and O.m.engl.U. (Originalfassung mit englischen Untertiteln, original version with English subtitles)
Load more

Recommended publications
  • The Actor Behind the Camera
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2016 The Actor Behind the Camera Zechariah H. Pierce Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Acting Commons, and the Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4113 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. THE ACTOR BEHIND THE CAMERA A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University by ZECHARIAH HENRY PIERCE Bachelor of Arts, Theatre, 2009 Director: DR. AARON ANDERSON Associate Chair of the Department of Theatre Virginia Commonwealth University Richmond, Virginia May 2016 !ii Acknowledgement I am incredibly grateful to my family, to whom without their undying support, graduate school would not be possible. Thanks to my in-laws for your gracious hospitality and loving care, my wife for your strength in defending the homestead, and my children for your endless supply of love and entertainment. You are the reason I am where I am. To Dr. Aaron Anderson, for your encouragement and inspiration in exploring the unknown and crossing into uncharted territory. I hope to find as much success in bringing theatrical arts to all walks of life, and still have time to be a rockstar dad. To my students, actors, and producers: thank you for your patience, your trust, and your willingness to let me experiment with my identity in new roles.
    [Show full text]
  • Me and Orson Welles Press Kit Draft
    presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City.
    [Show full text]
  • BRICE DELLSPERGER Solitaires
    **click here to access to the french version** BRICE DELLSPERGER Solitaires Exhibition from June 20 to July 30, 2020 43, rue de la Commune de Paris F-93230 Romainville For his new solo sow at Air de Paris, Brice Dellsperger presents two new films «Body Double 36» and «Body Double 37». «My Body Double videos are like doubles of movie sequences from the 70s or 80s: the title refers to Brian de Palma’s film (Body Double, 1984). To this day the series includes forty films with various running times, where the obsessive motif is the body of the double in mainstream movies. Following a rigorous but emancipating process, each selected scene is re-enacted by a single transvestite actor or actress, a super character who interprets all the parts by becoming double.» By appropriating the linear/ authoritarian form of a movie, the Body Double films aim at disrupting normative sexual genres through the means of a camp aesthetic.» Body Double 36 (2019) After Perfect (James Bridges, 1985) with Jean Biche. Aerobics were the fashion in the 80s! James Bridges’ Perfect was released in 1985. The film superficially describes human relationships in a gym club in Los Angeles, seen through the eyes of a journalist (John Travolta) who is beguiled by an androgynous gym coach (Jamie Lee Curtis). Studies on the postmodern body in contemporary American society are linked to the context of the 80s, a period which recognized an ideal body-object caught up by the AIDS epidemic. The identification of the HIV virus had a major influence on the perception and representation of bodies and sexuality.
    [Show full text]
  • Introduction to Carla Wilson's Curious Impossibilies: Ten Cinematic Riffs
    Introduction to Curious Impossibilities: Ten Cinematic Riffs by Carla M. Wilson by James R. Hugunin The concealed essence of a phenomenon [herein, film] is often given by the past events that have happened to it, so that a concealed force continues to operate upon a phenomenon [film] as a kind of transcendental memory. — Philip Goodchild, Deleuze and Guattari (1996) True aesthetic innovation can only come from reworking and trans-forming existing imagery, ripping it from its original context and feeding it into new circuits of analogy. —Andrew V. Uroskie, “Between the Black Box and the White Cube” (2014) I remember the ashtrays. God, the number of cigarettes they burned up in the movies in those days. — “Don’t Even Try, Sam,” William H. Gass in Cinema Lingua, Writers Respond to Film (2004) I have been totally spellbound by cinema. Hitchcock, Max Ophuls, Bergman, Godard, Truffaut, Marker, Fellini, all have enriched my imagination. I take photographs. I’ve tried my hand at films. I’ve worked on the special effects in Hollywood films. I study the history of photography and film. I dig film noir. I write criticism. During its heyday, I read Screen, Screen Education, and Cahiers du cinema, relig- iously; carried Christian Metz’s The Imaginary Signifier (1977) around like some people do the Bible. Now I write fiction, fiction influenced by film. Early on, I noticed that the interaction between film and literature has been a rich one — writing influencing film, film influencing writing. An example of the latter I encoun- tered in college was American writer John Dos Passos’s U.S.A.
    [Show full text]
  • Brice Dellsperger Body Double
    Brice Dellsperger Body Double Curated by Selva Barni - Fantom Oct 24th — Nov 30th, 2018 Marsèlleria Via Paullo, 12/A Milan GROUND FLOOR 1. Body Double 10 Reprise of Brian de Palma's Obsession, 1997 1’ 27’’, loop With Dominique, Jean-luc Verna, Joy Falquet 2. Love/pursuit Body Double 3 Reprise of Brian de Palma's Body Double, 1995 1 1’50’’, loop With Brice Dellsperger Body Double 28 Reprise of Thomas Carter's Miami Vice Pilot (Brother's Keeper), 2013 2’46’’, loop With Brice Dellsperger 5 4 2 3. Despair 3 Body Double 21 Reprise of Roger Avary's The Rules of Attractions featuring V/VM's GROUND FLOOR sound design, 2005 19’56’’, loop With Lili Laxenaire, Joy Falquet, Sophie Lesné, Jean-Luc Verna, Carey Jeffries, William Carnimolla, Morgane Rousseau, Eva Carlton, Mercedes, Gwen Roch', Denis d'Arcangelo 4. Chases Body Double 4 Reprise of Alfred Hitchcock's Psycho as Donna Summer in Bad Girls, 1996 6’4’’, loop With Brice Dellsperger Body Double 5 Reprise of Brian de Palma's Dressed To Kill in Disneyland, 1996 5’40’’, loop With Brice Dellsperger Body Double 15 Reprise of Brian de Palma's Dressed to Kill, 2001 8’37’’, loop With Brice Dellsperger 5. Dead Star Body Double 26 Adaptation of Kenneth Anger's Hollywood Babylon I/II with Dead Can Dance's The Host Of Seraphim as a soundtrack, 2011 6’8’’, loop With Constance Legeay, Charleyne Boyer, Anita Gauran marselleria.org/body_double BASEMENT 6. Body Double 32 Reprise of Brian De Palma's Carrie, 2017 10’11’’ ca., loop 6 Music Didier Blasco With Alex Wetter BASEMENT FIRST FLOOR 7.
    [Show full text]
  • Different Dimensions, Philosophies and Techniques of Filmmaking
    Different dimensions, philosophies and techniques of filmmaking from a spontaneous one-day film idea to an Independent Film Production of a series ISWI 2021 & DITS - Production 02. June 2021 Who are we? TeamFnD “Freedom and Dependency” We are a student initiative of students of the TU Ilmenau and an independent film production. Together with professional filmmakers, national and international musicians, dancers and artists we currently producing a series called “Dancing in the Shadow” here in Ilmenau. Tamara K. Anastasiia S. Film Marketing & PR, Film Producer, Student at TU Ilmenau Alumni TU Ilmenau Lucas M. Cam Operator, Student at TU Ilmenau What’s the Workshop about? I. One-day film with a Smartphone II. Semi professional Shooting project III. Independent Film Production of a Movie IV. Dancing in the Shadow - Our production I. One-day film with a Smartphone What you need: ● content idea ● mobile phone ● smartphone stabilizer ● big plus: extra light & microphone ● an impression of how the final video should look like microphones for better sound lights stabilizer: gimbal and/or tripod I. One-day film with a Smartphone Useful advices Preparation ● hold cell phone straight ● What should be in the video? ● always film in landscape format, so 16:9 Objects? Persons? ● bring depth into the picture ● What should happen? Actions? ● objects in the foreground ● Write a shotlist for your sequence ● consistent movements and visual concept ● think about the transitions II. Semi professional Shooting project Preproduction Production Postproduction ● develop the story ● “less is more” - film with a ● use a good editing software ● create a storyboard to small crew, a few actors and (the best free one is Davinci visualize the ideas with minimal equipment Resolve which includes ● find actors, crew, location, ● Equipment: DSLR on a tripod professional Features) equipment or small gimbal with good ● build up all of that with a lenses a decent external ● organize the footage minimal budget microphone and 2-3 softboxes ● raw-cut the whole film or LED Panels.
    [Show full text]
  • The Dub Encounter in New Zealand Film
    MEDIANZ VOL 17 NO 2 • 2017 https://doi.org/10.11157/medianz-vol17iss2id190 - ARTICLE - The Dub Encounter in New Zealand Film Alan Wright Abstract Peter Wells takes ‘dubbing’ as a metaphor to describe the cultural and cinematic experience of projecting ‘our thoughts, desires and dreams … into other peoples’ accents’ (2005, 25). Only when ‘the element of dubbing is removed from our speech on film’ will New Zealand cinema find its own voice. I use the idea of dubbing to advance a theoretical reading of New Zealand film that undoes the binary between local and global. I explore this unheimlich quality in reference to the films of John O’Shea, Barry Barclay and Florian Habicht. I examine the rupture that these directors introduce between voice and image in order to discover a poetics of identity that is attuned to a disjunct experience of place, time and history beyond the limits of national cinema. Peter Wells tells the story o, his first rapturous encounter with the ‘mystery of cinema’ in On Going to the Movies, a personal essay on the growing pains of New Zealand film and its tentative attempts to find a voice of its own (2005, 39). As a young boy growing up in New Zealand in the 1950s, he would sit in the kitchen for hours looking through a ‘cheap plastic viewer’ at stills from Hollywood movies or Queen Elizabeth’s Coronation, immersed in the visual spectacle, inventing scenes and stories that would complete the missing picture. But the magic of those moments is enhanced rather than diminished in Wells’ memory by the gap between reality and desire.
    [Show full text]
  • Mary, Queen of Scots
    PATHÉ FILMS PRESENTS MAQUEEN OF SCOTSRY AN OKOFILM PRODUCTION A THOMAS IMBACH FILM BASED ON «MARIA STUART» BY STEFAN ZWEIG WITH CAMILLE RUTHERFORD • MEHDI DEHBI • SEAN BIGGERSTAFF ANEURIN BARNARD • EDWARD HOGG • TONY CURRAN BRUNO TODESCHINI • ROXANE DURAN • JOANA PREISS WRITTEN AND DIRECTED BY THOMAS IMBACH CO-WRITERS ANDREA STAKAˇ EDUARD HABSBURG SCRIPT EDITOr CATHERINE SCHELBERT PRODUCED BY ANDREA STAKAˇ THOMAS IMBACH EXECUTIVE PRODUCERS EMILIE BLÉZAT SIBYLLE SARAH IMBACH CO-PRODUCERS SRF SWISS RADIO AND TELEVISION SRG SSR ARTE SCIAPODE CINEMATOGRAPHER RAINER KLAUSMANN S.C.S. MUSIC BY SOFIA GUBAIDULINA EDITED BY TOM LA BELLE COSTUME DESIGNER RUDOLF JOST PRODUCTION DESIGNER GERALD DAMOVSKY MAKE UP AND HAIR RONALD FAHM and MARTINE FELBER CASTING BY MARIE DE LAUBIER and LISA OLAH WITH THE SUPPORT OF BUNDESAMT FÜR KULTUR • ZÜRCHER FILMSTIFTUNG • SUISSIMAGE MEDIA PROGRAMME OF THE EUROPEAN UNION • KANTON LUZERN URI FILM LOCATION RIVIERA • YVERDON-LES-BAINS • FOCAL: STAGE POOL VALERIO BONADAI PATHE FILMS AG OKOFILM TEL +41 (0) 79 653 65 03 [email protected] [email protected] LOGLINE Eine Königin, die drei Königreiche verlor. Eine Ehefrau, die drei Männer verlor. Eine Frau, die den Kopf verlor. SYNOPSIS Kurze Version: Die schottische Königin Mary Stuart verbringt ihre Jugend in Frankreich. Sie soll auch die französische Krone tragen, doch jung verheiratet, stirbt ihr kränklicher Gemahl. Mary kehrt alleine in das vom Krieg versehrte Schottland zurück. Zur selben Zeit wird Elisabeth Königin von England. Für Mary ist sie wie eine Zwillingsschwester, der sie sich offenherzig anvertrauen kann. Sie heiratet erneut und gebärt einen Thronfolger. Ihr Mann, Lord Darnley, entpuppt sich als Schwachkopf. Als Mary ihre große Liebe im Earl of Bothwell findet, lässt sie Darnley meucheln und heiratet Bothwell.
    [Show full text]
  • 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 .
    [Show full text]
  • Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box OCe?
    Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box O±ce?¤ Arthur De Vany Department of Economics Institute for Mathematical Behavioral Sciences University of California Irvine, CA 92697 USA W. David Walls School of Economics and Finance The University of Hong Kong Pokfulam Road Hong Kong Abstract Everyone knows that the movie business is risky. But how risky is it? Do strategies exist that reduce risk? We investigate these ques- tions using a sample of over 2000 motion pictures. We discover that the movies are very risky indeed. Box-o±ce revenue dynamics are a Le'vy stable process and are asymptotically Pareto-distributed with in¯nite variance. The mean is dominated by rare blockbuster movies that are located in the far right tail. There is no typical movie be- cause box o±ce revenue outcomes do not converge to an average, they diverge over all scales. Movies with stars in them have higher revenue ¤This paper was presented at the annual meeting of the American Economic Associa- tion, New York, January 1999. Walls received support from the Committee on Research and Conference Grants of the University of Hong Kong. De Vany received support from the Private Enterprise Research Center of Texas A&M University. 1 expectations, but in¯nite variance. Only 19 stars have a positive cor- relation with the probability that a movie will be a hit. No star is \bankable" if bankers want sure things; they all carry signi¯cant risk. The highest grossing movies enjoy long runs and their total revenue is only weakly associated with their opening revenue.
    [Show full text]
  • Usc Sca Ctpr 507 Production I -‐ Fall 2011
    USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
    [Show full text]
  • Coffee Break Film School Instructor Guide
    1 Coffee Break Film School Instructor Guide Copyright ©2019 Moviola 2 ISBN: 9781521260418 Copyright ©2019 Moviola - All rights reserved 3 Contents Introduction 9 The CBFS Philosophy 10 10 What it is 10 What it’s not 11 The All-Round Filmmaker 12 A compartmentalized reference What this guide is for 13 14 The Big Picture Course 14 Project-Based Course 16 Understanding the CBFS Unit categories 17 Visual Glossary of Terms 17 Survival Guides 18 Compendium 4 Classes 19 Video resources 20 Suggested textbooks 21 Expanded Curriculum: Big Picture Course 28 28 Unit One 28 Core 32 Signature interview 32 Going deeper 33 Survival Guides 33 Complementary reading 34 Best of the Web & Film History Unit Two 35 35 Core 39 Signature interview 39 Survival Guides 40 Going deeper 40 Complementary reading: 5 41 Best of the Web & Film History Unit Three 42 42 Core 47 Signature interview: 47 Survival Guides 47 Going deeper: 47 Complementary reading: 48 Best of the Web & Film History Unit Four 49 49 Core 53 Signature interview: 53 Going deeper 53 Complementary Reading 54 Best of the Web & Film History Unit Five 55 55 Unit Five Core 59 Signature interview: 59 Going deeper 6 60 Complementary Reading 60 Best of the Web & Film History Unit Six 61 61 Core 66 Signature Interviews 67 Survival guides 67 Going deeper 67 Complementary Reading 68 Best of the Web & Film History Expanded Curriculum: Project-Based Course 70 Unit 1 - Screenwriting 71 76 Unit 2 - Production 80 Unit 3 - Cinematography 84 Unit 4 - Lighting 88 Unit 5 - Sound 91 Unit 6 - Editing and Color Correction 95 Unit 7 - Visual Effects 7 8 9 Introduction The digital filmmaking revolution has been both a blessing and a curse.
    [Show full text]