Location Sound Recordist Production Sound Mixer Sound Editor
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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). -
Production Audio High Performance Tools for Professionals
PRODUCTION AUDIO HIGH PERFORMANCE TOOLS FOR PROFESSIONALS ® Sound Devices was founded in 1998 to fulfill a single promise - design and build robust field-production tools, that offer superb audio quality and improve our customers’ work lives. Today, Sound Devices’ family of portable audio mixers, recorders, preamps, and computer interfaces is trusted by professionals worldwide. ® Special thanks to our customers’ who shared their thoughts and photos of our audio products in action. DEFINING PRODUCTION AUDIO™ 6-SERIES 688 Key Features Likewise, Dan Dugan is a name synonymous with automixing. • 12 analog inputs: Six mic/line preamps plus His well-respected auto mixer algorithm is an audio industry six line inputs all with front-panel faders & PFLs standard. Sound Devices is proud to have collaborated with Dan • 16-track recording to SD & CompactFlash® Dugan Sound Design on making the 688 the first ever portable cards; Timecode-stamped WAV & MP3 files mixer/recorder to offer built-in Dugan automixing. With Dugan • MixAssist & Dugan 12-input auto mixers auto mixer, multi-mic speech applications are mixed with smooth • Eight output buses: L/R mix plus Aux 1-6; automatic cross-fades for clear, optimized audio recordings. transformer-balanced XLR & Hirose outs for freedom from ground loops • Two AES42/AES3 inputs, Unsurpassed Recording The 688 offers 16-track, polyphonic eight AES3 outputs or monophonic broadcast WAV file recording to SD and • Direct menu control of SuperSlot-compatible CompactFlash cards. The memory cards can be set wireless (with the SL-6) See page 9. independently, recording either identical material for real-time • PowerSafe™ protects files with a 10 second backup, or combinations of WAV and MP3 files. -
FAQ About Film Production — 1 Action Movie Makers Training
Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki. -
Production Sound Mixer
Production Sound Mixer A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. Usually, the recordist will arrive on location with his/her own equipment, which normally includes microphones, radio systems, booms, mixing desk, audio storage, headphones, cables, tools, and a paper or computer sound logs. The recordist may be asked to capture a wide variety of wild sound on location, and must also consider the format of the finished product (mono, stereo or multi channels). The recorded production sound track is later combined with other elements, i.e. effects, music, narration, foley or re-recorded dialog by automatic dialogue replacement (ADR). Often, when taping on video, the sound recordist may record (single system) audio directly onto the camera rather than use a separate medium (double system), although a separate copy is often made, as it both provides an extra copy which may have more tracks and also may include other sound captured without the camera. The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound including the hiring of a boom operator and utility sound technician, planning the technical setup involving sound including both sound equipment and ancillary devices involved in syncing and time offsets, anticipating and discussing sound-related problems with the rest of the crew, and ordering and preparing the sound equipment to be used on the set. -
POST PRODUCTION PROCESS and POSITIONS
POST PRODUCTION PROCESS and POSITIONS PRODUCERS Executive Producer - is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum. Producer - A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project. Associate Producer - Shares responsibility for creative and business issues. DIRECTION Director - The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred. POST PRODUCTION SUPERVISION Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant. -
A CRITICAL ANALYSIS of the USE of SOUND EFFECTS and MUSIC in CONTEMPORARY NARRATIVE FILM a Thesis Presented To
TON & TRAUM: A CRITICAL ANALYSIS OF THE USE OF SOUND EFFECTS AND MUSIC IN CONTEMPORARY NARRATIVE FILM A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Dennis C. Schweitzer November 2004 This thesis entitled TON & TRAUM: A CRITICAL ANALYSIS OF THE USE OF SOUND EFFECTS AND MUSIC IN CONTEMPORARY NARRATIVE FILM by Dennis C. Schweitzer has been approved by the School of Film and the College of Fine Arts by Ruth Bradley Associate Professor of Film Raymond Tymas-Jones Dean, College of Fine Arts SCHWEITZER, DENNIS C. M.A. November 2004. Film Ton & Traum: A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film (87 pp.) Director of Master of Arts Thesis: Ruth Bradley We often talk about the mysterious Magic of the Movies, the unique ability of the filmic medium to take the audience into another world, another era, even another galaxy. We also talk about film’s unique ability to record life as it happens and to document what is going on in our world, be it right where we live or at the most remote place on Earth. But whenever we look at film as an art form, most of us tend to exclusively credit the visual component of the film, i.e. cinematography, topped off with the occasional thought on editing. The sonic component of film, however, is unjustly ignored most of the time. Sure, we know the name Hans Zimmer from Gladiator or Danny Elfman from Batman and most recently Spider-Man 2, but how many of us know who recorded the location sound on Master and Commander? The goal of Ton & Traum is to give the film-soundtrack the credit it deserves. -
OUTSTANDING SOUND MIXING for a COMEDY OR DRAMA SERIES (ONE HOUR) PETER BENTLEY, CAS Production Sound Mixer KEN TEANEY, CAS Re-Recording Mixer ALEC ST
FEATURES 51st CAS Annual Awards ......................... 8 Meet the Winners .............................. 11 Up close & personal with Birdman, Big Hero 6, Sherlock, Game of Thrones, Modern Family, and Sonic Highways Technical Achievement Awards ................... 34 And the winners are: iZotope and Sound Devices 8 CAS Student Recognition Award .................. 37 Bringing the award to life CAS Filmmaker Award .......................... 40 Richard Linklater honored Work at Home? ............................... 42 Sound isolation is crucial 11 DEPARTMENTS President’s Letter ............................... 4 Introducing our new president, Mark Ulano, CAS From the Editors ................................ 6 2015 Board of Directors announced 40 Been There Done That ........................... 46 CAS members check in The Lighter Side ............................... 50 42 Cover: Meet the Winners collage CAS QUARTERLY SPRING 2015 3 Dear Membership, KUDOS With gratitude and friendship, I want to thank David Fluhr and his administration for their extraordinary effort and service over the last four years. The resulting growth and progression of the Cinema Audio Society along with our new Board of Directors—a great blend of seasoned hands CINEMA AUDIO SOCIETY and new voices—will refine and engage our goals for the MISSION STATEMENT future. To educate and inform the general public and The CAS 51st Awards was a banner event and a great the motion picture and television industry that success. Excitement, gravitas, and heartfelt acknowledg- effective -
Parts Development — the First Stage in Which the Ideas for the Film Are Created, Rights to Books/Plays Are Bought Etc., and Th
Parts Development — The first stage in which the ideas for the film are created, rights to books/plays are bought etc., and the screenplay is written. Financing for the project has to be sought and greenlit. Pre-production—Preparations are made for the shoot, in which cast and film crew are hired, locations are selected, and sets are built. Production—The raw elements for the film are recorded during the film shoot. Post-Production—The images, sound, and visual effects of the recorded film are edited. Distribution—The finished film is distributed and screened in cinemas and/or released on DVD. Development In this stage, the project's producer selects a story, which may come from a book or a play or another film or a true story or an original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25-to-30-page description of the story, its mood, and characters. This usually has little dialogue and stage direction, but often contains drawings that help visualize key points. Another way is to produce a scriptment once a synopsis is produced. Next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. -
Fall-2020.Pdf
FALL 2020 Mix Sound for Film & TV • Sports Broadcast Mixing During a Pandemic Tips for Recording Musicals with Tod Maitland CAS • Score Mixing During Distant Times The Importance of PFX • How Will COVID Change the Way We Mix – Pt. II DEFY THE ELEMENTS. OMNIDIRECTIONAL WATERPROOF SUBMINIATURE MICROPHONE DuraPlex subminiature lavalier and headset microphones are consistent, long-lasting, and resistant to dust, dirt, water, and sweat. Offering professional-quality audio for film, broadcast, speech, theater, and performance applications, DuraPlex is perfect for everyday situations but excels in the harshest environments. Capture every moment with confidence. Rain, or shine. Discover more at Shure.com/DL4 AXIENT® DIGITAL AD3 PLUG-ON WIRELESS TRANSMITTER SUPERIOR PLUG-ON PERFORMANCE. Transform nearly any microphone into an advanced, portable Axient Digital AD Series wireless microphone with the AD3 plug-on transmitter. AD3 features a custom, fast, and secure XLR connector design, support for both AA and Shure SB900 series rechargeable battery options, and simple, user-friendly controls and menus. Discover more at Shure.com/AD3 © 2020 Shure Incorporated. See shure.com/trademarks. INSIDE THIS ISSUE FALL 2020 MIX PRESENTS SOUND FOR FILM & TV | 24 DAY ONE & CAN’T STOP, WON’T STOP | 26 CAS PARADE OF CARTS | 38 DAY TWO & PLAY IT DON’T SPRAY IT | 44 DEPARTMENTS The President’s Letter | 4 From the Editor | 5 Collaborators | 6 Learn about the authors of your stories 16 52 Announcements | 8 Meet the Mixer | 11 Griffi n Richardson CAS Been There Done That -
In Association with Motto Pictures -- 19340
A Fishbowl Films Production -- In Association With Motto Pictures -- 19340 Productions -- Shark Island Institute -- HHMI Tangled Bank Studios -- A Laura Nix Film --- Directed by LAURA NIX --- Produced by DIANE BECKER, p.g.a. MELANIE MILLER, p.g.a. LAURA NIX, p.g.a. --- Executive Producers JULIE GOLDMAN CHRISTOPHER CLEMENTS DAVID J. CORNFIELD LINDA A. CORNFIELD SHARON CHANG --- Executive Producers IAN DARLING DAVID GUY ELISCO DENNIS LIU PATTY QUILLIN ANDREA VAN BEUREN --- Edited by HELEN KEARNS Co-Editors GERAUD BRISSON MATTHEW MARTIN LANGDON PAGE --- Director of Photography MARTINA RADWAN --- Original Music by LAURA KARPMAN --- Funding Provided Through Generous Support of Helen Gurley Brown’s Glassbreaker Films --- Additional Funding by the Lagralane Group JASON LEE YVONNE HUFF LEE --- Co-Producer BETH MCNAMARA --- Co-Executive Producers LESLIE BERRIMAN NANCY BLACHMAN CAROLYN HEPBURN NION MCEVOY LYNDA WEINMAN JENIFER WESTPHAL --- Associate Producers ELEASE LUI STEMP ANN ROGERS --- Supervising Field Producer CHRISTOPHER BUCHANAN --- Featuring SHOFI LATIFAH NUHA ANFARESI JESÚS ALFONSO MARTÍNEZ ARANDA JOSÉ MANUEL ELIZALDE ESPARZA JARED GOODWIN SAHITHI PINGALI INTAN UTAMI PUTRI FERNANDO MIGUEL SÁNCHES VILLALOBOS M. AKZARHAN MARÍA INÉS ISABEL HERNÁNDEZ AMÉSQUITA DEBRA DENISSE MARTÍNEZ ARANDA MIREYA ANNETT MARTÍNEZ ARANDA TAYLOR BENNING MEGHANA BOLLIMPALLI MAGDALENA ARANDA ESCALÓN BRUNO ARMANDO ELIZALDE ESPARZA CRISTHIAN ISABEL ELIZALDE ESPARZA DARÍO SAMUEL ELIZALDE ESPARZA JIMMY GOODWIN JOY GOODWIN CRISTHIAN JEANNETTE ESPARZA HERNÁNDEZ JUAN MANUEL ELIZALDE HERNÁNDEZ VENANCIO MARTÍNEZ JIMÉNEZ CORRY KRISTHNA, S.H TERESO SANCHEZ LUNA DR. STEVE LUNDBLAD DR. AZAEL MARTÍNEZ DE LA CRUZ ERALÚ VILLALOBOS MERCADO ARUNA PINGALI GOPAL PINGALI LALITHA PINGALI SREEKARI PINGALI MANU PRAKASH DR. TV RAMACHANDRA PRASHAANT RANGANATHAN DR. LUTGARDE RASKIN RENIATI MARCELA DEL ROCÍO ROSAS DEL REAL FADILLAH SABRI ADAM SKORA DR. -
Video Production(207) Unit -1
VIDEO PRODUCTION(207) UNIT -1 Introduction to Video Production Video production is the process of creating video by capturing moving images (videography), and creating combinations and reductions of parts of this video in live production and post- production (video editing). In most cases the captured video will be recorded on electronic media such as video tape, hard disk, or solid state storage, but it might only be distributed electronically without being recorded. It is the equivalent of filmmaking, but with images recorded electronically instead of film stock. Practically, video production is the art and service of creating content and delivering a finished video product. This can include production of television programs, television commercials, corporate videos, event videos, wedding videos and special-interest home videos. A video production can range in size from a family making home movies with a prosumer camcorder, a one solo camera operator with a professional video camera in a single-camera setup (aka a "one- man band"), a videographer with a sound person, to a multiple-camera setup shoot in a television studio to a production truck requiring a whole television crew for an electronic field production (EFP) with a production company with set construction on the backlot of a movie studio. Styles of shooting include on a tripod (aka "sticks")[1] for a locked-down shot; hand-held to attain a more jittery camera angle or looser shot, incorporating Dutch angle, Whip pan and whip zoom; on a jib that smoothly soars to varying heights; and with a Steadicam for smooth movement as the camera operator incorporates cinematic techniques moving through rooms, as seen in The Shining. -
Mark Edwards
MARK EDWARDS SOUND RECORDIST / PRODUCTION SOUND MIXER MUSIC PRODUCER / RECORDING ENGINEER SOUND EDITOR / MIXER CASA Certified RPAS Operator (ReOC 6667 / ARN 562599) Agent: Freelancers Promotions Mobile Direct: +61 408 601 107 Tel: +613 9682 2722 Email Direct: [email protected] Email: [email protected] www.greensideproductions.com.au Long Form, Narrative and TV Credits (selection) Fremantle Media - Neighbours Production Sound Mixer (Casual) Neighbours “Mrs Robinson” / Fremantle Location Sound Recording Neighbours vs Time Travel - Fremantle / Forster Sound Designer & Dubbing Mixer Neighbours vs Zombies - Fremantle/SA / Forster / Maroun Location Sound Recording Neighbours “Road Trip” / Fremantle Location Sound Recording BBC TV - Wanted Down Under S11 / Stanley Location Sound BBC TV - Wanted Down Under S09 / Rene Location Sound BBC TV - Wanted Down Under - Simpson Revisit Location Sound Brock / Documentary / Wildbear/Stenders Location Sound Taj - Feature / Furlong ADR/Additional Recording No Appointment Necessary - Feature / Flynn Dialogue Editor Groomless Bride - Feature / Diebert Production Sound Mixer The Mule - Feature / Sampson Playback operator ABC ME / News To Me Re-Recording Mixer (Casual) ABC TV / Tomorrow Tonight Re-Recording Mixer (Casual) ABC TV / Black Prime Minister (Promo) / Joined Up Location Sound Recordist Lawton Productions - Strangers To the World / Docco Location Sound Recordist Universal Pictures/Steam - Noel Fielding Live Production Sound Mixer ABC TV / Minchin - In Films