BAFTA Student Film Awards
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Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
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 . -
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 -
Employment Application
American Federation of Utah State Federation of Labor Labor International Alliance of Theatrical Stage Employees, Local 99 526 West 800 South Salt Lake City, Utah 84101 (801) 359-0513 July 16, 2020 Welcome to IATSE Local 99! We hope you are excited to become part of an organization that has been representing workers, like you, for well over a century. IATSE Local 99 will increase your career opportunities and help you to secure your future as a professional in the entertainment industry. Since 1903, Local 99 has represented entertainment industry workers in Salt Lake City and beyond. Our members originally installed screens, operated projectors in movie houses, and worked on traveling shows on the Vaudeville circuit. As the entertainment industry flourished, our work and expertise evolved and expanded beyond our humble beginnings. Today, Local 99 members and referrals work in motion pictures, commercials, convention centers, theatres, arenas, shops, and performing art centers throughout Utah and southern Idaho. Local 99 is proud to be a part of an International union that is over 150,000 members strong, with Locals spanning coast-to-coast in the U.S., its Territories, and Canada. Workers under Local 99 administered agreements receive an extraordinary amount of benefits. The IATSE partners with the IATSE National Benefits Fund (NBF) to provide Medical Insurance plans, Pension plans and Annuity plans. These plans are employer-contributed, self-directed, and may be individually maintained between union jobs. Workers on our MPTV List obligate themselves to a 2% assessment known as “work dues,” which can be deducted from your paycheck if you so choose. -
Texas Moving Image Industry Incentive Program 2014 Update
Texas Moving Image Industry Incentive Program 2014 Update Prepared for the Texas Association of Business By the Bureau of Business Research IC² Institute The University of Texas at Austin Bruce Kellison, Ph.D. and James E. Jarrett, Ph.D. Principal Investigators Acknowledgments Once again, the research team relied heavily on the cooperation of the Texas Film Commission in preparing this update of its 2011 report. Director Heather Page and Incentive Program Manager Robert Schuller patiently provided data on the Moving Image Incentive Program and advice on interpreting trends in the data and nuances in the program. The Bureau of Business Research, IC² Institute, The University of Texas at Austin The Bureau of Business Research (BBR) was established in 1926 to provide small business owners and policymakers with applied economic research and data to strengthen the state’s business environment. Throughout its history, the Bureau and its work have been characterized by objectivity and independence. The Bureau’s prolific publications include Texas Business Review, the Texas Business Leader’s Confidence Index, and numerous economic assessments and program evaluations. The IC² Institute was established in 1977 with the vision that science and technology are resources for economic development and enterprise growth. In addition to the BBR, the Institute oversees several targeted research programs that include the Austin Technology Incubator (with industry-specific incubation assistance for business start-ups in the software, clean energy, wireless, and bioscience technology sectors), and the Global Commercialization Group. The IC² Institute is directed by Dr. Robert A. Peterson. Project Staff Dr. Bruce Kellison, Associate Director of the Bureau of Business Research, IC² Institute, and Dr. -
Student Handbook &
Student Handbook & Reference Guide Department of Theatre Arts A guide to the policies and procedures used by Utah State University’s Department of Theatre Arts. 1 Table of Contents Caine College of the Arts Mission Statement .......................................................................................... 5 Department of Theatre Arts Mission Statement ...................................................................................... 5 Academic Freedom ................................................................................................................................. 6 II. Degree Programs .............................................................................................................................. 7 III. Academics ......................................................................................................................................... 8 Leaves of Absence .............................................................................................................................. 8 Disability .............................................................................................................................................. 8 Student Grievances ............................................................................................................................. 8 Department Policies ............................................................................................................................... 9 Advising .................................................................................................................................................. -
The Assistant Directors Main Duties Are Assisting the Director, Coordinating All Production Activity, and Supervising the Cast and Crew
The Assistant Directors main duties are assisting the Director, coordinating all production activity, and supervising the cast and crew. They are also in charge of a department of other Assistant Directors and Runners. Overall, they provide the link between the Director, cast and crew, while also liaising with the production office, and providing regular progress reports about the shoot. Before the shoot, theAD’S main task is to create the filming schedule, working in careful consultation with the Director. When drawing up the shooting schedule, ADS must also be aware of the budget, cast availability and script coverage. Preparing the storyboard, overseeing the hiring of locations, props and equipment and checking weather reports are all key pre-production duties for ADS. During production, they must ensure that everyone is on standby and ready for the Director's cue for action. The ADs' main responsibility is to keep filming on schedule by driving it forward, so they make announcements and give directions to co-ordinate the cast and crew. They also control discipline on the set, supervise the other Assistant Directors and oversee the preparation of the daily 'call sheet' (a document with daily shooting logistics, distributed to all cast and crew). ADS are also responsible for health and safety on set or location, and must take action to eliminate or minimize hazards. The A.D.’s role on a major feature film is a big, big job, suited for someone unafraid and able to multitask. Here are 5 basic things the AD does: 1. Schedule the shoot: During pre-production the A.D. -
YOUR CAREER in FILM + Tv
YOUR CAREER IN FILM + tv INDUSTRY OVERVIEW Film and television production is one of Oklahoma’s leading industries contributing to both its current cultural renaissance as well as the creation of jobs and economic development across its statewide communities. Nearly 40 film and television projects utilized the Oklahoma Film Enhancement Rebate Program last year, contributing over 4,200 jobs and making it one of the busiest years in Oklahoma’s film industry. READY TO ROLL: INFRASTRUCTURE Oklahoma’s central location and low costs for living and business makes the state a formidable partner for the film and television industry. Paired with growing partnerships between business, government and civic leaders, new businesses continue to locally establish themselves while existing companies expand their inventory to meet the evolving needs of our industry. INCENTIVE + RELIABILITY In an industry that relies on the dependability of state government and local support to establish its business, Oklahoma has proven its steadfast commitment to film and television. The Oklahoma Film Enhancement Rebate Program remains one of the strongest competitive film programs in the nation, and is the foundation for both the current and future development of the state’s film, television and music industries. CAMERA READY WORKFORCE Oklahoma’s skilled, talented workforce is essential in supporting the state’s film and television industry. It takes a village to make a movie, and job opportunities extend far beyond what is seen on-screen with nearly every imaginable trade playing a pivotal role in this industry. See page two of this document for an extended list of job opportunities! EDUCATION + RECRUITMENT You can turn your hobby or profession into a sustainable career in the Oklahoma film industry where there’s a place for everyone! For some, on-set experience can be the best form of education while others may prefer the film education programs available through Oklahoma’s wide variety of esteemed universities, colleges, trade-schools and more. -
Collective Agreement Film
Collective Agreement Film between Alliance québécoise des techniciens de l’image et du son and Association québécoise de la production médiatique From October 5, 2015 to September 30, 2018 Table of Contents Chapter 1 Purpose and Scope of Application ................................................................................1 1.1 Purpose .................................................................................................................................................... 1 1.2 Scope of Application ................................................................................................................................ 1 1.3 Producers Bound ..................................................................................................................................... 1 1.4 Employees Not Covered .......................................................................................................................... 1 1.5 Trainees and Apprentices Not Covered ................................................................................................... 1 1.6 Foreign Resident ...................................................................................................................................... 1 1.7 Quebec Resident ...................................................................................................................................... 2 1.8 Application to Live Performance Recordings ........................................................................................... 2 1.9 -
THE CRAFTS an Introduction
THE CRAFTS An Introduction In the beginning, there was no book, no precedent, no rules set in stone. Various job jurisdictions evolved over time - not out of a sense of provincial ism, but because production crews sought out the best, most efficient delineation of responsibilities in the interest of a smooth-running production. As the film industry developed into a burgeoning new business, the flourishing studios had the resources to hire and retain the finest craftspersons in the world. Born out of this Hollywood Studio System was a tradition of unsurpassed excellence and integrity, of well-honed skills and innate talent, of veteran personnel and eager new workers - the tradition of IATSE Local 44. The varied Craft divisions within this local evolved after much thought, energy, time and debate. And the evolution continues - today the entire entertainment industry is in a state of flux due to the ever changing landscape of how the various studios are structured and do business, as well as to the extraordinary advances of technology. The present is always a product of the past, but these two eras - "then" and "now" - are quite different in a number of compelling ways. Longtime members (some of whom were present when Local 44 received its official IATSE charter in 1939) remember the early days, when working for one studio for a lifetime was the rule, not the exception. The studios kept their core ranks continually employed; if one wasn't working on a film or television project, one was working on lot improvements. IA members even played important roles in constructing studio amusement park "spinoffs," such as Disneyland and the Universal Studios Tour. -
“Muddy” Waters ’93 Makes His Mark in Hollywood
That’sa BY JULIE CHAPMAN David “Muddy” Waters ’93 makes his mark in Hollywood TOm Cruise, Sandra BullOCk, JaCk NiChOlsOn and Matthew MCCOnaugheY. David “MuddY” Breaking into the business Waters ’93 has wOrked with all thOse stars Waters was born in Greensboro, N.C., and raised in Mansfield, withOut getting star-struCk. Mass. After graduating from Elon with a degree in communications, he moved to Wilmington, N.C., one of the region’s filmmaking After working in the movie business for more than a decade, hotspots. After a year of unsuccessfully trying to break into the Waters is used to mingling with Hollywood’s elite. As an assistant movie industry, he left Wilmington and moved to Greensboro, director, he has worked behind the scenes on films such as “Miss where he worked as a videographer, filming homes for sale for a Congeniality,” “About Schmidt,” “Mission: Impossible III” and last cable television show. year’s hit, “We Are Marshall.” He’s known as “Muddy” on the set, Unfulfilled by that work, Waters returned to Wilmington to a nickname he acquired in middle school after famed jazz guitarist give movies a second shot. In 1996, he began his career in feature Muddy Waters. films, working as a non-union prop assistant and set dresser. Next, Yet Waters never dreamed of making it big in Hollywood. In he worked as a set production assistant on “The Jackal,” “Species II,” fact, it wasn’t until he discovered video editing in Elon’s commu- “I Still Know What You Did Last Summer,” “Virus” and “The Insider.” nications program that he considered a career in films. -
So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses.