Tuesday, December 5, 2017
Wednesday, November 22, 2017
PICK OF THE WEEK
Bellflower (2011)- Two drinking, smoking college pals
build muscle cars & modified weapons hoping that Armageddon happens.
Their goal? To rule the roads just like in their all-time favorite film
"Mad Max". That's enough for me...I'm in.
Thursday, November 16, 2017
Film Slang
Spritzer- No... it is not a carbonated wine cocktail on set. A spritzer is
a pump/spray bottle of water used for misting an actor's skin to make
it appear wet or sweaty. It is a way of controlling the "wet look" for
continuity of shots.
Thursday, November 2, 2017
Film Terms
Ambience or Room Tone- pertains to the pervading atmosphere of a place. (Often more of a psychological, rather than technical description) Ambience is widely used as a synonym for ambient sound. Ambient sound consists of noises present in the environment. In film and video sound production term Ambience usually means the background sound accompanying a scene. Ambience is used for background sounds. Sound recorded without dialogue on the location or set to be used to bridge gaps in the soundtrack. Each location has a distinctive ambient sound that can sometimes be difficult to match in the postproduction studio.
Wednesday, November 1, 2017
Tuesday, October 17, 2017
A Fully Functional Lighting Board Created By #thomasedison in 1904... #lighting #philadelphia #history @ Hyatt at The Bellevue----FS Grad Noreal Layne |
Saturday, September 23, 2017
Tuesday, September 19, 2017
Film Slang
Sometimes on a film set you need to work quietly but still communicate. The below is a chart of the basic hand signals used by electricians.
Electricians- Lighting crew. Also known as Electrics and Sparks. They create light.
The Electrician's brothers & sisters called Grips, create shadows, rig cameras, dollies and cranes. Grips are sometimes also know as Hammers. The grips know these signals as well and have more of their own.
Electricians- Lighting crew. Also known as Electrics and Sparks. They create light.
The Electrician's brothers & sisters called Grips, create shadows, rig cameras, dollies and cranes. Grips are sometimes also know as Hammers. The grips know these signals as well and have more of their own.
Film Slang
Pick
Ups/Pick-Up Shots
Shots needed to complete the storytelling that were initially missed or left out and are “picked up ” at a later time.
Shots needed to complete the storytelling that were initially missed or left out and are “picked up ” at a later time.
Monday, August 28, 2017
Dialogue Greatness
Adams Family Values (1993) -Gothic comedy based on the comics by Charles Addams. Directed by Barry Sonnenfeld.
Gomez: Children, why do you hate the baby?
Pugsley: We don't hate him. We just wanna play with him.
Wednesday: Especially his head.
Gomez: Children, why do you hate the baby?
Pugsley: We don't hate him. We just wanna play with him.
Wednesday: Especially his head.
Saturday, August 19, 2017
Friday, August 18, 2017
Monday, July 17, 2017
Film Set Radio Etiquette
Tips for Proper Radio Use:
*Be professional*Always use your name when identifying yourself. Common practice is to say "Go for ____(your name)" when someone calls for you.
* Keep your voice low when taking on the radio. Most crew will have ear pieces but keep your voice down. Especially when around actors. Just because they are not in front of camera does not mean they are not working.
*Know that anyone could be hearing your conversation.
* If you need to have an extended conversation (or private) take it to another channel. Do this by telling the other person "Go to Channel___". For really private talks it's best to ask them to meet you in person.
*Production Assistants (P.A.s): If someone higher up than you has their radio battery go dead, give them yours and get yourself a new one. Same if their radio breaks. Be prepared by carrying a couple of extra radio batteries with you. You are being Johnny On the Spot by being so prepared!
* Always say "copy" meaning that you heard and understand. Without a response, people wonder if you heard them or not.
Common Radio Codes:
10-100: Going to the restroom. Some folks will alternatively use 10-1 as a shortcut to say the same thing. Others may use 10-2 being a bit specific and hinting that it may take a bit longer than 10-1!
10-4: I have heard and understand
10-20 or 20: Location of someone or something as in "What's your 20?"
"Copy": I Have heard and understand
"Do You Copy?": Did you hear me? Do you understand?
"Radio Check": Say this if you are not sure that your radio is transmitting or working. The proper response is "Good Check". If you hear someone ask for a radio check....respond!
"Stand by": Means that I am busy at the moment and will respond ASAP.
"Flying In": Always respond when asked to bring something or someone to the set. It lets them know that you are on it. Also lets us know that multiple people are not attempting to do the same task and wasting precious manpower and time.
This
is only a small sample of the lingo used on sets. As you get more experienced
in the professional world you will learn the language. Be aware that there are
different variations on terms, so don’t look like a dummy. East Coast and West
Coast terms sometimes differ. The British terms differ. Be willing to learn. When
in doubt ask.
Dialogue Greatness
“Attention. Here's an update on tonight's dinner. It was veal. I
repeat, veal. The winner of tonight's mystery meat contest is Jeffrey
Corbin who guessed ‘some kind of beef.’”
Bill Murray (as Tripper) in "Meatballs"(1979)
Bill Murray (as Tripper) in "Meatballs"(1979)
Monday, May 29, 2017
FIlm Slang
Grid- On a soundstage (a studio space where filming takes place) there can be a Grid hoisted
overhead to support lights, scenery, and other items. It is made up of
pipes and lumber. Grids are mostly used for sitcoms and weekly TV shows.
Those productions tend to have lights that have been pre-placed on the
grid. You might notice that Sitcoms and TV shows often look different
from Hollywood Feature Films. The reason is that films tend to use
lights on stands placed individually for each shot.
Wednesday, April 12, 2017
Learn from Those Who Have Been There
Jim Jarmusch’s 5 Golden Rules for Filmmakers
Jim's Golden Rules:
Rule #1:
There are no rules. There are as many ways to make a film as there are
potential filmmakers. It’s an open form. Anyway, I would personally
never presume to tell anyone else what to do or how to do anything. To
me that’s like telling someone else what their religious beliefs should
be. Fuck that. That’s against my personal philosophy—more of a code than
a set of “rules.” Therefore, disregard the “rules” you are presently
reading, and instead consider them to be merely notes to myself. One
should make one’s own “notes” because there is no one way to do
anything. If anyone tells you there is only one way, their way, get as
far away from them as possible, both physically and philosophically.
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Article thanks to Moviemaker.com
Rule #2: Don’t let the fuckers get ya. They can either help you, or not help you, but they can’t stop you. People who finance films, distribute films, promote films and exhibit films are not filmmakers. They are not interested in letting filmmakers define and dictate the way they do their business, so filmmakers should have no interest in allowing them to dictate the way a film is made. Carry a gun if necessary.
Also, avoid sycophants at all costs. There are always people around who only want to be involved in filmmaking to get rich, get famous, or get laid. Generally, they know as much about filmmaking as George W. Bush knows about hand-to-hand combat.
Rule #3: The production is there to serve the film. The film is not there to serve the production. Unfortunately, in the world of filmmaking this is almost universally backwards. The film is not being made to serve the budget, the schedule, or the resumes of those involved. Filmmakers who don’t understand this should be hung from their ankles and asked why the sky appears to be upside down.
Rule #4: Filmmaking is a collaborative process. You get the chance to work with others whose minds and ideas may be stronger than your own. Make sure they remain focused on their own function and not someone else’s job, or you’ll have a big mess. But treat all collaborators as equals and with respect. A production assistant who is holding back traffic so the crew can get a shot is no less important than the actors in the scene, the director of photography, the production designer or the director. Hierarchy is for those whose egos are inflated or out of control, or for people in the military. Those with whom you choose to collaborate, if you make good choices, can elevate the quality and content of your film to a much higher plane than any one mind could imagine on its own. If you don’t want to work with other people, go paint a painting or write a book. (And if you want to be a fucking dictator, I guess these days you just have to go into politics…).
Rule #5: Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.”
Article thanks to Moviemaker.com
Thursday, April 6, 2017
More birds. Barred Owl brings dinner for her brood in Greenwood Cemetery, Orlando, FL. 1DX Mk2 with 300mm f/2.8 telephoto with 1.4x extender. @canon_photos @canonusa #floridawildlife #florida #birds #birdsofinstagram #greenwoodcemetery #owl #barredowl------Cinematographer James Neihouse, A.S.C. |
Monday, March 27, 2017
Ash [to the medievil villlagers]: “Alright you Primitive Screwheads, listen up! You see this? This… is my boomstick! The twelve-gauge double-barreled Remington. S-Mart’s top of the line. You can find this in the sporting goods department. That’s right, this sweet baby was made in Grand Rapids, Michigan. Retails for about a hundred and nine, ninety five. It’s got a walnut stock, cobalt blue steel, and a hair trigger. That’s right. Shop smart. Shop S-Mart. You got that?”
-----Ash (Bruce Campbell) in Army of Darkness (1992)
Fancy Film Words
Mis En Scene (miz-en-scen)- Translated as "Placing
on stage". It is the arrangement of all of the visual elements of a
theatrical production within the scene or stage. There are generally 4
elements:
1. Physical setting and decor
2. Staging of the action
3. The way in which the elements are framed
4. The way in which the elements are photographed
1. Physical setting and decor
2. Staging of the action
3. The way in which the elements are framed
4. The way in which the elements are photographed
Monday, March 6, 2017
Here's
the second of three launches we had last night, sorry I can't share the
video footage (you'll have to see that on the big screen). What you are
seeing is: the bright spot at the bottom of the light streak is the
second stage ignition followed by the solid motor burn; the streak below
that, and slightly left, is the first stage falling back to earth; the
exhaust trail from the second stage of
the first rocket can be seen in front of the aurora; residual smoke from
the first stage of the first rocket is visible on the far left; the
rocket engine is illuminating a very large area around the launch
facility, as well as creating shadows, on the snow, of the trees in the
foreground.---James Neihouse For more information go to: http:// |
Friday, February 24, 2017
Friend's Pics
Sunday, February 5, 2017
Chris and I used to skateboard through Venice playing with cameras. Now he's one of the most sought after Movi Ops in the business. You know it's a Family affair when your friends come to pinch hit for you for the love of it. Cinematographer Leo Jaramllo #cosanostra — with Chris Herr at Westwood, Los Angeles. |
Tuesday, January 24, 2017
Film Crew Slang
"John Ford"- A technique where an actor walks toward the
camera (downstage) in the course of a long take eventually walking into
his own close-up. Director John Ford was know for utilizing this
technique for dramatic effect and to eliminate the need for additional
shots. John Ford is THE preeminent director of the classic cowboy film.
You should immediately rent "The Searchers" (starring John Wayne) to see
a truly great director in action.
Monday, January 9, 2017
Friend's Pics
Last job of the Year2016. With a great group of humans. For the Golf Channel NBC. Director: Alex Sivers Robert Tuscani Raquel Rocky Frazin Walter Argueta photos: Rob Tuscani-----Cinematographer Eduardo Fierro |
Dialogue Greatness
The Hangover (2009) (Written by Jon Lucas and Scott Moore)
The boys have a stolen a Tiger from boxer Mike Tyson and drugged it to sleep in their hotel room.
Stu Price (Ed Helms)singing :
“What do tigers dream of when they take their little tiger snooze? Do they dream of mauling zebras, or Halle Berry in her Catwoman suit? Don’t you worry your pretty striped head, we’re gonna get you back to Tyson and your cozy tiger bed. And then we’re gonna find our best friend Doug, and then we’re gonna give him a best friend hug. Doug, Doug, oh, Doug, Dougie, Dougie, Doug, Doug! But if he’s been murdered by crystal meth tweakers, then we’re sh*t out of luck.”
The boys have a stolen a Tiger from boxer Mike Tyson and drugged it to sleep in their hotel room.
Stu Price (Ed Helms)singing :
“What do tigers dream of when they take their little tiger snooze? Do they dream of mauling zebras, or Halle Berry in her Catwoman suit? Don’t you worry your pretty striped head, we’re gonna get you back to Tyson and your cozy tiger bed. And then we’re gonna find our best friend Doug, and then we’re gonna give him a best friend hug. Doug, Doug, oh, Doug, Dougie, Dougie, Doug, Doug! But if he’s been murdered by crystal meth tweakers, then we’re sh*t out of luck.”
Film Crew Slang
Off Book -
When an actor has completely memorized their lines and is no longer in need of
the script.
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