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In the Blink of an Eye Why
Why Do Cuts Work? ell, the fact is that Apocalypse Now, as well as W every other theatrical film (except perhaps Hitchcock's Rope 3 ), is made up of many different pieces of film joined together into a mosaic of im ages. The mysterious part of it, though, is that the joining of those pieces-the "cut" in American termi nology 4-actually does seem to work, even though it represents a total and instantaneous displacement of one field of vision with another, a displacement that sometimes also entails a jump forward or backward in time as well as space. It works; but it could easily have been otherwise, since nothing in our day-to-day experience seems to prepare us for such a thing. Instead, from the moment we get up in the morning until we close our eyes at night, the visual reality we perceive is a continuous 3 A film composed of only ten shots, each ten minutes long, invis ibly joined together, so that the impression is of a complete lack of editing. 4 I was aware, talking to an Australian audience, of the bias inherent in our respective languages. In the States, film is "cut," which puts the emphasis on separation. In Australia (and in Great Britain), film is "joined," with the emphasis on bringing together. 5 6 IN THE BLINK OF AN EYE WHY stream of linked images: In fact, for millions of years context: The displacement of tl tens, hundreds of millions of years-life on Earth has motion nor change of context, ; experienced the world this way. -
Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned. -
1 the Work of an Invisible Body: the Contribution of Foley Artists to On
1 The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort Lucy Fife Donaldson, University of Reading Abstract: On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film. On-screen bodies are central to our engagement with film; the ways they are framed and captured by the camera guides our attention to character and action, while their physical qualities invite a range of engagement from admiration, appreciation and desire to awe, fear and repugnance. -
Introduction to Color Grading 23 Introduction to Color Grading
Introduction to Color Grading 23 Introduction to Color Grading For over thirty years, DaVinci has pioneered the development of color correction hardware and software designed to enhance visual images acquired from film and video. DaVinci Resolve possesses our newest and most evolved professional color correction tools yet. However, for all its technological sophistication, Resolve is merely a tool that requires the hands of a skilled artist to realize its full potential. Subsequent chapters of this user manual cover the DaVinci Resolve grading tools in the Color page in great detail, but before getting into the specifics of color balancing and contrast adjustment, Power Windows and Custom Curves, it’s important to step back and consider what these tools are for, and why you’re learning to use this application in the first place. This introduction is for those of you who are new to this process we call color correction, or color grading. If you’re a veteran colorist then you might want to skip ahead, but if you’re just starting out, the following sections are intended to describe the many goals of color correction, and how the DaVinci Resolve toolset has been designed to address them; making it fast and efficient to alter images in innumerable ways as we elevate raw footage to cinematic art. The Goals of Color Correction 550 Maximizing the Look of Your Media 550 Emphasizing What’s Important 553 Audience Expectations 554 Balancing Scenes 555 Adding Style 557 Quality Control 560 Never Stop Experimenting 561 Chapter 23 – Contents 549 The Goals of Color Correction If reality is a fire hose of visual information, then digital cinema and broadcast would be represented by a garden hose. -
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 . -
FOX SEARCHLIGHT PICTURES Presents
FOX SEARCHLIGHT PICTURES Presents A MYTHOLOGY ENTERTAINMENT / VINSON FILMS Production A RADIO SILENCE Film SAMARA WEAVING ADAM BRODY MARK O’BRIEN with HENRY CZERNY and ANDIE MacDOWELL DIRECTED BY………………………………………MATT BETTINELLI-OLPIN & TYLER GILLETT WRITTEN BY………………………………………..GUY BUSICK & R. CHRISTOPHER MURPHY PRODUCED BY………………………………………………………………………....TRIPP VINSON …………………………………………………………………………………..…JAMES VANDERBILT …………………………………………………………………………………………WILLIAM SHERAK ……………………………………………………………………………………BRADLEY J. FISCHER EXECUTIVE PRODUCERS…………………………………………………………..CHAD VILLELLA ………………………………………………………………………………………….…TARA FARNEY …………………………………………………………...……………………………TRACEY NYBERG ………………………………………………………………………………………DANIEL BEKERMAN DIRECTOR OF PHOTOGRAPHY………………………………………………BRETT JUTKIEWICZ FILM EDITOR……………………………………………………………………TEREL GIBSON, ACE COSTUME DESIGNER…………………………………...………………………….AVERY PLEWES PRODUCTION DESIGNER…………………………..………………………..ANDREW M. STEARN MUSIC BY..………………………………………………………………………………..BRIAN TYLER http://www.foxsearchlight.com/press Running Time: 95 minutes Rating: R Los Angeles New York Regional Lauren Gladney Samantha Fetner Isabelle Sugimoto Tel: 310.369.5918 Tel: 212.556.8696 Tel: 310.369.2078 [email protected] [email protected] [email protected] 1 Fox Searchlight Pictures’ READY OR NOT follows a young bride (Samara Weaving) as she joins her new husband’s (Mark O’Brien) rich, eccentric family (Adam Brody, Henry Czerny, Andie MacDowell) in a time-honored tradition that turns into a lethal game with everyone fighting for their -
Woods Citizens Unhappy With
IICYCUNG ClNIU HOffIC 01 eM NftfJI IOnllS on4 'ANI ,................. --- ......,.,.... ta ......~ _, CANs : ... c..".III~ - ....._ e- M a.-. " IoeIioIa. !Co-UNE 17'.1333 M J I "." 10 ...... I _. rosse Pointe ews Complete Ne.." Coverage of AU the Pointe. Vol. 35-No, 3. lie'" e.., GROSSE POINTE, MICHIGAN, THURSDAY, AUGUST 22, 1974 fl." Ptr Year 26 Pages-Two Sections-Section One HEADLINES Dedicated Coach Receives Honor Woods Citizens SEMTA Is ... • Concerned Unhappy with Over Decree Ordinance Provides for :ng n AMual Inspection, Pav... Pla Licensing, of Buses ft.1In4Iay, A.... 15 Opereted in City R Fb°rdR R ._PRESIDENTb Many Question Necessity end Overall Benefit of Bv D-er A, W.1.. Ic a ~Jl!IIi. NlAOD. was su • PEt H If J --a _ poeDaed today to appear ill Proposed' Improvement to Ive IS I The Woods Council at the Water.gate cover.yp trial of Sunningdale Plrk Via Specil' the refUlar meeting Mon- wasnext fUedmonth.in TbeU.S. subpoenaDistrict , Assessment Method day. 1August ed19, unanl.rdl Court on behalf of John D. By Roger A, Waha mous y pus an 0 • Ebrlichman, former domes. Over a dozen residents attended the regular nance to provide for the tic counsel to Mr. Nixon. meeting of The Woods Council Monday, August 19, annual ,inspection and H. The subpoena was addressed . d' I d ri bllc h cens1ng of all buaes op- to Mr. Nixon at the "Presl. to express their ISp easure, u ng a pu. c. .ear. erated within the city. dential compoWId, San Cleo ing, with the proposed special assessment dlstnci. -
Snacktime and Enchanted Ink
SIGGRAPH 2015 Student Work Entry University of Central Florida School of Visual Arts and Design, Character Animation Specialization Project list for Snacktime and Enchanted Ink DIG3433C-0001 Visual Story and Visual Development; Fall, 2013 Instructor Jo Anne Adams Course Description This course is an introduction to the processes and techniques to transform story concepts into a producible 3D visual experience. Emphasis is upon the aesthetic, technical, and conceptual practices of time based image making which will be addressed through lectures, demonstrations, exercises, projects, and readings. Students will understand story and character development, composition, layout, storyboarding, and output using industry-standard software. Students are evaluated based on their contribution to the class discussions, critiques, and their aesthetic, technical, and conceptual development. ProJect List: Assignment Description of the Assignment % of Grade Assignment Date Due Date One: Story treatment: 5% Aug 21 W Sept 11 Write a 2-page typed story treatment using the suggested methods of idea inspiration and based on one of the types of conflicts in your reading. Upload your treatment to the server in our class folder by the end of day on Wednesday, Aug 31. Develop at least three supporting inspirational sketches to sell the story. Turn them in as jpegs in the same folder as your story. The naming convention for this class is lastNameFirstInitial_DIG3433_Story and lastNameFirstInitial_DIG3433_sketchA,B, or C. The class will vote for eight treatments to pursue as 4 person teams Two: Visual Development 5% Sept 11 W Sept 25 Develop preliminary sketches for at least three main story beats per team member. Divide the story into equal parts so the entire story gets a visual treatment. -
Nathan Frost
www.nathanfrostcine.com | [email protected] l (778) 953 5472 Nathan Frost EDUCATION Bachelor of Social Science Pscyhology (Swinburne University of Technology) Certificate III in Film & Media (QSFT) HSK 3 Mandarin (90% Score) CERTIFICATES AND SKILLS - Extensive Lighting knowledge. - Large scale lighting setup, power distribution and installations. - Inter-department communication and organization - Ronin Gimble Systems - Machine Operation & Rigging Experience ( Genie, Manitou, Forklift, Scissor Lifts) OVERVIEW OF PAST RESPONSIBILITIES: (See the next pages for detailed production listing) *** Most Lighting Experience is based around the European standard; so included in the experience is Diffusion, Negative Fill, Cutting & Rigging. EXPERIENCE FEATURE ROLE PRODUCTION DP COMPANY Into Black(2018) DP(Operator) JayGlenn Pipe Dreams DP(Operator) Revenue (2015) Factory Productions Hand of Art Co-DP(Lighting Inside out Studio (2012) Director) Pacific Rim 2 Legendary -DP Dan Mindell ASC, BCS Senior lighting Studios Gaffer Chris Prampin/Shaun Technician Conway Bullets for the Gaffer 2nd Unit Visionquest Intl -DP Andrew Conder ACS Dead The Turning Best Boy Madman -DP Robert Humphreys ACS, (Immunity Entertainment Gaffer Chris Walsingham segment) Harrow Season 1 Best Boy Hoodlum -DP Robert Humphreys ACS, Ep-1-5 Entertainment Gaffer Mark Glinderman Alien: Covenant Lighting Scott Free -DP Darius Wolski ASC Technician Productions -Gaffer Shaun Conway [email protected] l (778) 953 5472 www.nathanfrostcine.com | [email protected] l (778) 953 5472 (Main Unit – on set) King Kong: Skull Lighting Legendary -DP Larry Fong ASC, Island Technician Gaffer Shaun Conway (Main unit - onset) San Andreas Lighting Village -DP Steve Yedlin, Technician (Main Roadshow Gaffer Reg Garside Unit – on set) Studios HackSaw Ridge Lighting Cosmos Films -DP Simon Duggan ACS, Technician Gaffer Shaun Conway (Main Unit – on set) Boar Lighting Slaughter FX -DP Andy Conder ACS, Technician Gaffer; Adam Williamson. -
Technical Theatre I
2nd Nine weeks Fall Calendar 2008 Mr. McGlynn Rm. I-02 Target Outcomes: The student continues demonstration of digital editing skills in the program Power director #7. The student demonstrates skills in Newscast production work and formatting. The student demonstrates skills and understanding in using Pinnacle 12 Green screen technology. The student knows the five basic elements of story and plot structure within a short 10 min. film. The student continues practicing a variety of camera angles and shots in telling a story on film. The student will practice still animation techniques in film editing a 3-5 min. short film. Assignments: 1. Daily production work (Q. grd.) 2. Vocab Chap. #14 (stage and school book) (Q. grd.) 3. Rev. Questions Chap. #14 (stage and school book) (T. grd.) 4. Citizen Kane discussion of Transitions, camera angles, lighting & symbolism (Q. grd.) 5. Storyboard 3-5:00 min. still animation film project 4 students per group (Q. grd.) 6. Still animation project (T. grd.) 7. Storyboard Newscast and make assignments, 10 students per group (Q. grd.) 8. 10 min. Newscast (200 pt. T. grd.) 9. „Storyboard/Script‟ film project, 4 students per group (T. grd.) 10. Film Dailies (three Q. grds.) 11. 10 min. film project 4 per group (Final project 400 pt. T. grd.) 12. Clean up grade (Q. grd.) 13. Final exam “20 question vocabulary Test” (Final exam grd.) 14. Extra credit: Film Archive 10 min. highlight projects outside of your assigned work: (school events) 10/21-22 Watch “Citizen Kane” / handout on camera shots, transitions, lighting. / Ch. #14 Vocab (Q. -
John Barzelay [email protected] (407) 761-1899
John Barzelay [email protected] (407) 761-1899 Education University of Central Florida, Orlando, FL Bachelor of Arts, May 2008, Radio/Television. Minors in Film, Sociology. Recent Freelance Sound Mixer/Recordist, Camera Op, Steadicam (current) Work SOUND DEPARTMENT “Glendale Arts” - TV Spots – Sound Mixer (April 2012) Tegan Summer “Blue Lagoon” - Behind the scenes – Sound Mixer/Recordist (March 2012) Lifetime “Google Apps” - Commercial web-spots – Sound Mixer (September 2011) Google “Zombie Burst” iPhone Video Game –Sound Director (September 2011) “2012 Ford Fiesta” – Commercials – Sound Mixer (September 2011) Ford “Puss N Boots” – Live-action Commercial – Boom Op (September 2011) Dreamworks “Grabriel Iglesias” Commercials – Sound mixer (August 2011) Comedy Central “Prophets of Science Fiction” TV Show – Sound Mixer (July-August 2011) Discovery “Cee-Lo Green – Cry Baby” music video – Sound Mixer (July 2011) “Rango” Live-action commercial – Boom Op (June 2011) Nickelodeon. “Kids Choice Awards 2011” – Commercial Spots – Boom Op (May 2011) Nickelodeon “American Idol” TV Show – Sound Mixer/boom (March 2011) Fox “The Sorrow” Feature Film – Sound Mixer (March 2011) LapBand Commercial TV Spots – Sound mixer (Jan 2011) Tegan Summer “The Block” BET Pilot – Sound Mixer/Boom (Oct 2010) BET “Tony Hawk Pro Skater: Shred” Video game – Boom Op (April 2010) PCB. “Hatchet II” Feature film – Boom Operator (Jan-Feb 2010) Ariescope. CAMERA DEPARTMENT “YG – Get money and fuck” Music Video – Steadicam Op (April 2012) 55 Mill “My Indonesian Adventure” -
Dr. Katie Bird Curriculum Vitae, Sept 2019
Dr. Katie Bird Curriculum Vitae, Sept 2019 Department of Communication University of Texas – El Paso 301 Cotton Memorial El Paso, TX 79968 kebird[at]utep.edu EDUCATION Ph.D. Film and Media Studies, Department of English. University of Pittsburgh. August, 2018 Dissertation: “‘Quiet on Set!: Craft Discourse and Below-the-Line Labor in Hollywood, 1919- 1985” Committee: Mark Lynn Anderson (chair), Adam Lowenstein, Neepa Majumdar, Randall Halle, Daniel Morgan (University of Chicago), Dana Polan (New York University) Fields: Filmmaking, Media Industries, Technology, American Film Industry History, Studio System, Below-the-Line Production Culture, Cultural Studies, Exhibition/Institutional History, Labor History, Film Theory M.A. Literary and Cultural Studies, Department of English, Carnegie Mellon University, 2010 Thesis length project: “Postwar Movie Advertising in Exhibitor Niche Markets: Pittsburgh’s Art House Theaters, 1948-1968” B.A. Film Production, School of Film and Television, Loyola Marymount University, 2007 B.A. Creative Writing, English Department, Loyola Marymount University, 2007 PROFESSIONAL APPOINTMENTS 2019 TT Assistant Professor, Film Studies and Digital Media Production. Department of Communication. University of Texas, El Paso (UTEP) 2018 Visiting Lecturer, Film and Media Studies/Filmmaking. Department of English. University of Pittsburgh 2017 Digital Media Learning Coordinator, Visiting Instructor. Department of English. University of Pittsburgh PUBLICATIONS 2021 Forthcoming. “Sporting Sensations: Béla Balázs and the Bergfilm Camera Operator.” Bird 1 Journal of Cinema and Media Studies/Cinema Journal. Spring 2021. 2020 Forthcoming. “Steadicam Style, 1972-1985” [In]Transition. Spring 2020. 2018 “The Editor’s Face on the Cutting Room Floor: Fredrick Y. Smith’s Precarious Promotion of the American Cinema Editors, 1942-1977.” The Spectator (special issue: “System Beyond the Studios,” guest edited by Luci Marzola) 38, no.