Film Crew 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.

Filming in Kathmandu today---Louis Normandin

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Sriracha day on the Dub Stage!---Mike O.

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Tune in to the season finale of The Amazing Race this evening on CBS to catch my Steadicam work mixed in with 20+ other cameras!------FBS Grad Tim Yoder

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Well, yesterday morning I get up at 04:30 to shoot the International Space Station flying over. I get to my location, cameras set up and ready to go, then I check my GoISSWatch app and low and behold I'm 24 hours early! (insert sad face here).
Now, fast forward to this morning, 04:30 and it's really tough getting outta bed, but I did. Went to the window halfway hoping the sky would be full of clouds, but alas, all I see is stars, some them floating around my sleepy head, but most of them real, and in the western sky from where the station will approach. The game is afoot! Here's the result, think I even managed to get it focus.This shot is from the brightest part of the pass which was at -2.6 magnitude, that's about 2.5 times brighter than Sirius, the brightest star in the night sky.---Cinematographer James Neihouse

Indy Director Jim Jarmusch’s 5 Golden Rules for Filmmakers

Jim Jarmusch is one of the truly independent filmmakers having successfully navigated his way in and outside of Hollywood. Director of 19 films, his most famous are Coffee & Cigarettes, Mystery Train, Stranger Than Paradise, Night on Earth, and Ghost Dog: The Way of the Samurai.

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

Friend's Pics

Santa Monica reminds me of the Favelas of Rio---Cinematographer Leo Jaramillo

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Personal Development Night. Composing music for "The Rub".--Kenny Beaumont

Flying is easy, landing is the hard part.--Colby H., FBS Graduate

Film Crew Slang

Last Man- phrase that refers to the last person to get their food at lunch; usually used because lunch should not officially start until the last man has gone through the catering line. It ensures that everyone gets an equal amount of time to eat. Production and AD departments will monitor this and record the exact time on the Daily Production Report.

Daily Production Report-The form filled out each day of production for a movie, television show, commercial, music video etc. summarizing what occurred that day. There is no standard template but the information required is often the same.

FRiend's Pics

Ya bro I lift...110% all day. Always get the shot. Airstrip Attack 8--Jeffrey John Hart

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Some fun down town Nashville this evening for MCS with an Arri---Brian Bass

Guns, cameras, and sunshine.---FBS Grad Tim Yoder

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My private screening room for the morning! Two hours of Space Footage with Butch Wilmore, our latest on-orbit cameraman.----Cinematographer James Neihouse

Film Slang

Slug Line- In a screenplay it is the Master Scene Heading that describes the basic where and when of the scene.
Example:
INT. ROBERT'S OFFICE-DAY  (Interior of Roberts office in daytime)
EXT. STREET-NIGHT (Exterior on a Street at Night)

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Backstage with David Copperfield after the show. Incredible performance! Mind still blown.---FBS Grad Brent Martin

Dialogue Greatness

The Big Steal (1949)

Jane Greer to Robert Mitchum: What I like about you is you’re rock bottom. I wouldn’t expect you to understand this, but it’s a great comfort for a girl to know she could not possibly sink any lower.

Friend's Pics

Master's series talk featuring Robert Yeoman, ASC, cinematographer for "The Grand Budapest Hotel" at NAB show---James Neihouse

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Wheel guy (Pat Sajak) and the boss man- Nicolas Moo

Beach Days!--Dan Abbott

Dialogue Greatness

Madagascar (2005)- This is a G film, but throughout the history of movies writers have found ways to amuse us with clever dialogue.
Marty the Zebra (Chris Rock) is running down the beach towards the Alex the Lion (Ben Stiller). They are both shouting each other's name in a classic slow-motion Hollywood reunion. As they get closer, Zebra notices that the expression and voice of the Lion is not happy but very angry. Zebra puts on the brakes and runs away screaming "Ohhhh, Sugar, Honey, Iced, Tea!".
Work it out yourself....