366K Intro to Narrative Production, Spring 2018, Unique # 08300
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Rawrs Camera Wows
rawr21s camera wows British cameraman Ousama Rawi worked on the film Coup d'Etat in Toronto and shares with Mark Irwin some of his thoughts and techniques about lighting. by Mark Irwin Ousama Rawi checks a shot 22/ Cinema Canada / managed to meet Ousama Rawi two going to need a lot of light; it's going When Ossie Morris was shooting days before he began shooting Coup to be a very warm set. Equus here last year, he very openly d'Etat for Magnum Films. I had fol expressed his lack of confidence in lowed his work after seeing Pulp Canadian labs and their work. Have Your lighting style has managed to be (a Michael Caine comedy/thriller) you experienced any such horrors? a directional soft light. How have you in 1972. Since then I'd seen Black achieved that? Windmill, Gold and Sky Riders, all Well, Medallion is doing all our Some bounce, some diffuse. It de of them incredibly well photographed work. I spent a day with them and they pends on two factors: one, the location and I was very honored to finally meet were terrific. We're printing 5381 and we're shooting in, the height of the the man himself. not Gevaert because I think that final ceiling, the color of the ceiling, etc., ly 5247 and 5381 have now matured. I Born in Bagdad, and educated in and then two, the style of the director. was very disappointed when I first Scotland, he began shooting news for If he wants to pan through 270 degrees used 5247 before the modification Border Television in 1965. -
Roger Savage Some Mainland Chinese Work
did you get that soundtrack?’ and the answer was, ‘in Australia’. is because often the actors they use can’t speak very good Soon after that we started doing a lot of low-budget films and Mandarin – their native tongue is often Cantonese, Korean or Roger Savage some Mainland Chinese work. One of these low-budget films even Japanese. In House of Flying Daggers, for instance, some of was directed by Zhang Yimo, who directed Hero in 2004. It the main actors were Korean and Japanese whose Mandarin was So many international awards… so little cupboard space. was through this previous association that we found ourselves unacceptable to the Mainland Chinese audience. To satisfy the working on that film as well. Hero was quite an unusual Chinese audiences the production hired voice artists to come in Andy Stewart talks to Australia’s most decorated film soundtrack, not your typical Hollywood soundtrack. and redo the voice at our studio in Beijing. The Chinese editors mixer about operating Soundfirm and what’s involved in AS: In what way was the Hero soundtrack different? then expertly cut the voice back into the film – they did an RS: The Chinese directors don’t bow down to the studio system, amazing job. Neither House of Flying Daggers nor Hero sound or delivering great sound to a cinema audience. they don’t have to, so they make their films the way they want. look like a dubbed film at all. Often the films themselves are way out there, which often means AS: What’s involved in good ADR in your experience and how the soundtrack is as well. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
Bob Oei Thesis Final Final
ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15 -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I. -
British Society of Cinematographers
Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC -
Sound: Eine Arbeitsbibliographie 2003
Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897. -
4 Colour Zonal.Eps
Ingrid David Zucker Vilmos Zsigmond Bergman Marlon Gary Cooper Bruce Sharman Brando Russell Carpenter C B 5 Zakaria Aladui JJ Abrams Walter Bette Davis John Huneck Kacee DeMasi Allan Ekelund Brennan William Wyler Steven Soderbergh Jerry Zucker Robert Josph L. Mankiewicz Fred 6 Elia Kazan Norman Zemeckis Danny DeVito Tony Brownrigg Zinnemann Denise Patty Milos Forman Gay Gerald R. Molen Denis Holt Ridley Chris Colombus Minter Bonfilio Clint Robert Downey Sr. Scott 4 Darius Khondji Eastwood 5 John Toll Joseph Ruttenburg Lawrence Kasdan Barry Levinson Robert Richardson Jonathan Robert Surtees Robert De Niro George Templeton Latham Jane Whitney Houston Hartwell Ralph S. Haskell Janusz Barry Bernardi Louis M. Wiard Brown Wexler Kaminski Leon Shamroy Jane Fonda Walter Murch Freddie Francis Singleton Lucino Francis Ford Coppola Mann Ihnen Dustin Kevin Edgardo Jan Foster Hoffman Spacey Visconti Jay Roach Great Watkins Pabarno Guido Arthur Miller Leonardo Di Caprio 3 Ki-Duk Carlos Gerald R. Cerasuolo Kim Menendez 4 Molen Vivien Leigh Maggie Lee Katz Howard Stern Annie Ismail Merchant Elizabeth Symes Philip M. Smith Peter Jay-Z Lennox Daryl Kass Marco Oliveri James Stewart Goldfarb Kevin Smith Jackson Hsiao-hsien Hou John Bailey James P. Katherine Phil Rawlins Jan De Bont John Glen Jeff J.J. Authors Irving James Hogan Neil Young Berlin Erwin Ronald L. Hepburn Magic Johnson Ivory Ron Fricke Godschalk Schwary Richard A. Harris Tod Browning Abby Singer George Bam Margera Hans Stanley Kramer Dean Semler Stevens Zimmer Ron Shelton 200m Kazuo Hal Ashby Roger Michael Cary Grant Jon Landau Caine Miyagawa Irving G. Thalberg Daltrey Roger John Juan Clemente Halle Berry Jon De Bello Vangelis John Williams Douglas Trumbull 2 Elton John Moby Waters Carpenter 3 Propser Thelma Schoonmaker Conrad Hall Jack N. -
PAUL TURANO [email protected]
PAUL TURANO [email protected], www.paulturano.com Education: M.F.A. MASSACHUSETTS COLLEGE OF ART, 1995 Filmmaking. Studied with Dan Eisenberg, Ericka Beckman, Mark Lapore, Saul Levine B.A. HAMPSHIRE COLLEGE, 1991 Film and Video Production, Critical Studies. Studied with Abraham Ravett, Joan Braderman, Abigail Child, Susan Douglas Academic Work Experience: ASSOCIATE PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2018 – PRESENT Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ASSISTANT PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2012 – SPRING 2018 Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ARTIST-IN-RESIDENCE, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: FALL 2007 – SPRING 2012 Teaching courses in intermediate sync sound narrative filmmaking, introductory 16mm filmmaking, and graduate level film and video production, MFA thesis chair and reader. VISITING FACULTY, ANNENBERG COMMUNICATIONS CENTER PINE MANOR COLLEGE: SPRING 2007 Course in digital movie making. ADJUNCT FACULTY IN COMPUTER ANIMATION ART INSTITUTE OF BOSTON: FALL 2004 Courses in digital animation with Flash, AfterEffects, and Final Cut Pro for individual projects. FULL TIME VISITING FILM FACULTY SCHOOL OF THE MUSEUM OF FINE ARTS: FALL 2000 – FALL 2005 Courses in advanced sync sound, intermediate 16mm film production and digital post-production, optical printing, Super 8 filmmaking, critical screening seminars; graduate MFA thesis and undergraduate advising; Acting Area Coordinator and Representative. FILM STUDIO MANAGER MASSACHUSETTS COLLEGE OF ART: SUMMER 1996 – SUMMER 2000 Roles included maintaining and teaching all aspects of film, animation, video, and computer equipment; organizing department screenings and visiting artists; managing student workers. -
Download (Binaural and Ambisonics B-Format Files)
Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism. -
Camera Operator of the Year Award
BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor .