Infobox Television episode Title Intermediate Documentary Filmmaking Series Community TV series Community Image Caption Season 2 Episode 16 Airdate Start date 2011 2 17 Guests Unbulleted list LeVar Burton as himself Jill Benjamin as Nurse Production 215 Writer Megan Ganz Director Russo brothers Joe Russo Episode list List of Community episodes Prev Early 21st Century Romanticism Next Intro to Political Science Intermediate Documentary Filmmaking is the 16th episode of the Community season 2 second season of Community TV series Community . The episode originally aired on February 17, 2011 on NBC . In the episode, Pierce pretends to be dying from a drug overdose and takes psychological revenge on the rest of the study group for not taking him seriously. He stages a documentary with Abed and plays ... name tvfanatic cite web title Community Review Intermediate Documentary Filmmaking url http www.tvfanatic.com 2011 02 community review intermediate documentary filmmaking work TV Fanatic last Kirkpatrick ... Cultural references The episode pays homage to and mocks the mockumentary style filmmaking of other ... . ref name tvfanatic ref name hitfix cite web title Review Community Intermediate Documentary Filmmaking ... documentary filmmaking pierce the puppet master work HitFix date February 17, 2011 last ... Filmmaking was one of the best reviewed episodes of the series second season. Jeffrey Kirkpatrick ... Filmmaking url http www.avclub.com articles intermediate documentary filmmaking,51903 work ... hollywood cite web title Community Recap Intermediate Documentary Filmmaking url http www.hollywood.com news Community Recap Intermediate Documentary Filmmaking 7763404 work Hollywood.com date February ... www.nbc.com community episode guide season 2 35440 intermediate documentary filmmaking episode 216 287754 Intermediate Documentary Filmmaking at NBC.com IMDb episode 1640858 Tv.com episode 1374166 ... Documentary Filmmaking at TV Tropes Community TV series DEFAULTSORT Intermediate Documentary Filmmaking ... more details
Unreferenced date August 2010 In feature length narrative filmmaking, an imaginary line delineates those who have influence in the creative direction of a film s narrative from others who perform duties related to the film s physical production. Below the line is a term that refers to the list of individuals who perform the physical production of a given film, the post production work and all of the related expenditures. These positions include but are not limited to the following multicol Assistant Director Art Director Line Producer Best boy Best Boy Electric Best boy Best Boy Grip Boom operator media Boom Operator Character generator CG Operator profession operator television Costume Designer Cinematographer Director of Photography Camera operator Composer Dolly grip Gaffer filmmaking Gaffer col break Graphic Artist Hair Stylist Key Grip Make up Artist Production Assistant Script Supervisor continuity Sound Engineer Stage management Stage Manager television Stage Carpenter Technical Director TD television Video control Broadcast engineering television Film editing Film Editor Visual Effects Editor col end The head of each department is known as a key . These individuals are responsible for the overall workings of their area, such as hair, make up, wardrobe, grip and electric G&E , lighting and camera. The head of the camera department is the Director of Photography , also known as the cinematographer . Below the line costs include allowances for non starring cast member s and the technical production crew and post production team s . Costs for locations such as filming sites , film studios and sound stages with its related technical equipment are also considered below the line expenditures. Crew travel expenses, catering costs, craft service and many other expenses fall under the below the line banner. Keys will often move around their expenses to suit their departmental ... crew. See also Above the line filmmaking Film budgeting Film crew Television crew External links ... more details
The Dirty Dozen is the nickname for a group of filmmaking students at the USC School of Cinematic Arts within the University of Southern California during the mid late 1960s. The main group consisted of budding film director directors , screenwriter s, film producer producers , film editing editors and cinematographer s. Through innovative techniques and effects, they would go on to success in the Hollywood film industry. Also known as the USC Mafia , the group s name was a reference to the 1967 Robert Aldrich directed war film The Dirty Dozen . ref name Cluebert Skywalking The Life and Films of George Lucas, Dale Pollock, pp. 48 ref The Core Group George Lucas Academy Award nominated director, writer, producer, creator of the Star Wars series and co creator of Indiana Jones franchise Films Indiana Jones series John Milius Screenwriter of Apocalypse Now and director of Conan the Barbarian 1982 film Conan the Barbarian Howard Kazanjian Producer of such films as Raiders of the Lost Ark , Star Wars Episode V The Empire Strikes Back The Empire Strikes Back , and Star Wars Episode VI Return of the Jedi Return of the Jedi . Walter Murch Academy Award winning film editor and Sound editor filmmaking sound editor of Apocalypse Now , The Conversation , The Godfather Part II , The English Patient film The English Patient , and Cold Mountain film Cold Mountain . Hal Barwood Screenwriter Bob Gale Screenwriter and producer of the Back to the Future trilogy Back to the Future trilogy. Matthew Robbins screenwriter Matthew Robbins Screenwriter Randal Kleiser Director Grease film Grease , The Blue Lagoon 1980 film The Blue Lagoon , It s My Party film It s My Party Caleb Deschanel Academy Award nominated director of photography on The Right Stuff film The Right Stuff , The Natural , The Patriot 2000 film The Patriot , and The Passion of the Christ . Robert Dalva Editor of films such as The Black Stallion film The Black Stallion , Jumanji , Jurassic Park III , and Hidalgo film Hidalgo . Willard ... more details
filmmaking is minimally the process of capturing and constructing images within virtual environments ... machinima as filmmaking within a real time, 3D virtual environment, often using 3D video game technologies ... can be traced back to Paul Marino 2009 , author of 3D Game Based Filmmaking The Art of Machinima ... like how filmmaking or video recording captures scenes. In essence, most machinima are created within ... costs. Virtual filmmaking is an evolving process that is blurring the lines between formats and industries ... makers to achieve certain aesthetics. Many digital technologies have liberated the practice of filmmaking ... filmmaking, and real and virtual life. Important considerations are the various programs available ... filmmaking can be overcome when the storyline is well developed and draws in the viewer. Machinima genres ... component of filmmaking, working hand in hand with image. Machinima sound can be created ... based filmmaking The art of machinima. Scottsdale, AZ Paraglyph. Marino, Paul. 2009 . 3D game based filmmaking The art of machinima. Scottdale, AZ Paragylph Press. Metaverse Television. 2009 . Web ... more details
unref date July 2008 About sound editors in the film or television industry for the general term Audio engineering A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final Audio mixing film and television sound mixing or mastering of a television program , motion picture , video game , or any production involving recorded sound recorded or sound synthesis synthetic sound. Sound editing developed out of the need to fix the incomplete, undramatic, or technically inferior sound recordings of early talkies , and over the decades has become a respected filmmaking craft , with sound editors implementing the aesthetic goals of Sound design Film motion picture sound design . The Academy of Motion Picture Arts and Sciences recognizes the artistic contribution of exceptional sound editing with the Academy Award for Sound Editing Academy Award for Best Sound Editing . There are primarily 3 divisions of sound that are combined to create a final mix, these being dialogue, effects, and music. In larger markets such as New York and Los Angeles, sound editors often specialize in only one of these areas, thus a show will have separate dialogue, effects, and music editors. In smaller markets, sound editors are expected to know how to handle it all, often crossing over into the mixing realm as well. Editing effects is likened to creating the sonic world from scratch, while dialogue editing is likened to taking the existing sonic world and fixing it. Dialogue editing is more accurately thought of as production sound editing , where the editor takes the original sound recorded on the set, and using a variety of techniques, makes the dialogue more understandable, as well as smoother, so the listener doesn t hear the transitions from shot to shot often the background sounds underneath the words change dramatically from take to take . Among the challenges that effects editors face are creatively adding together various ... more details
Infobox university name San Francisco School of Digital Filmmaking image name image size image alt caption established 2005 type affiliation endowment budget officer in charge chairman chancellor president vice president superintendent provost vice chancellor rector principal dean director head label head academic staff administrative staff students other city San Francisco state California country USA coor 37.782668, 122.406528 campus former names nickname affiliations website http sfdigifilm.com logo footnotes San Francisco School of Digital Filmmaking , also known as SFSDF for short, is a vocational film school in San Francisco, California . The school was founded by Stephen Kopels and Jeremiah Birnbaum in 2005 and works in conjunction with Fog City Productions, a local independent production company, to teach students the craft of filmmaking. The programs include five week filmmaking courses, acting and screenwriting workshops, and one year programs. ref name SFGate Gutherie, Julian February 19, 2011 . http www.sfgate.com cgi bin article.cgi?f c a 2011 02 19 DDSU1HE1SN.DTL Students immersed in the craft of filmmaking . San Francisco Chronicle Hearst Corporation pp. E1, E5. Retrieved 2011 02 25. Original Print Title Hands on school of indie filmmaking ref Feature films created in school Presque Isle ref name Features http sfdigifilm.com feature films.html SFSDF Feature Films . sfdigifilm.com. Retrieved 2011 02 25. ref Around June ref name Features Moonlight Sonata ref name Features Trattoria in post production ref name SFGate Two Mothers in pre production ref name Features References Reflist External links Official website http sfdigifilm.com coord 37.782668 122.406528 type edu region US CA display title DEFAULTSORT Colleges and universities in San Francisco Category Universities and colleges in San Francisco, California ... more details
Infobox award name International Award for Excellence in Filmmaking br AACTA Awards AACTA Award description presenter Australian Film Institute AFI country Australia year 2005 year2 2009 website http www.aacta.org The Australian Film Institute International Award for Excellence in Filmmaking was a special award presented by the Australian Film Institute AFI in recognition of any area of achievement excluding performance by an Australian in films produced internationally, recognising the contribution of Australian film and television industry practitioners world wide. ref name afipast cite web url http www.afi.org.au Content NavigationMenu Archive 2010Awards 2010AwardsPDF Special Achievement Award Winners 1991 2010.pdf publisher Australian Film Institute AFI title AFI Special Achievement Award Winners year 2009 first last accessdate 7 January 2012 ref It was handed out at the Australian Film Institute Awards known commonly as the AFI Awards , which are now the AACTA Awards after the establishment of the Australian Academy of Cinema and Television Arts AACTA , by the AFI. ref name academyoverview cite web url http aacta.org the academy.shtml title AACTA The Academy publisher Australian Academy of Cinema and Television Arts AACTA accessdate 15 December 2011 ref The award was presented in 2001 as a special achievement award before it was made into a competitive award in 2006, but from 2007 2009 it was only handed out as a career based award acknowledging the continued contribution of an Australian practitioner to international productions , and not for a particular film. ref name afipast ref cite web url http www.aacta.org winners nominees 2000 2010 2006.aspx title AACTA Past Winners 2000 2010 2006 publisher Australian Academy of Cinema and Television Arts AACTA accessdate 7 January 2011 ref Winners In the following table, in 2006 winners are listed first, in boldface and highlighted in gold those listed below the winner that are not in boldface or highlighted are the nominees ... more details
refimprove date August 2011 CineMagic was the name of film development technique invented by 3 D movie producer Sidney W. Pink and Norman Maurer in the 1959 science fiction movie The Angry Red Planet to cast a pinkish glow over the screen. The point of the technique was to make the actors look more like cartoons so they could fit into less realistic backgrounds, the overall effect being that the movie would look more impressive even with a smaller budget. The method employed the printing of a positive and negative monochromatic image on the same film, essentially turning the camera into a detector for drastic changes in brightness, such as on the edges of a light figure against a dark background. A red wash was placed over the whole image. This proved to be an expensive method. In the aforementioned film, action scenes were intercut with shots of a drawing of the ruins of a distant city it was hoped that the unusual coloration would distract the viewer from noticing that nothing was happening in the city, the camera just slowly zoomed in. References http www.imdb.com name nm0560816 Norman Maurer at IMDB . External links http morereviews2.tripod.com id31.html Another review with more pictures Filming stub Category Special effects ... more details
for uses of this term outside the film industry Option disambiguation Refimprove date May 2007 In the film industry , an option is a contract ual agreement between a potential film producer, such as a movie studio , a production company or an individual, and a writer or third party who holds ownership of a screenplay . The agreement details the exclusive rights, including the specified time period and financial obligations, the producer has to advance the essential elements, such as financing and or talent, towards the creation of a film based on the screenplay . Similarly, producers can also option book s, Article publishing articles , video game s, song s or any other conceivable works of intellectual property . A separate deal would be made with a screenwriter to write the screenplay , which is not an option. Financially, the contract qualifies as a real option and is thus very similar to other types of Option finance options . ref Don Chance, Eric Hillebrand and Jimmy Hilliard 2009 . http www.risk.net asia risk technical paper 1510179 pricing options film revenue Pricing options on film revenue , Risk magazine Risk 22, 80 86. ref The term is often used as a verb in Hollywood . For example, Paramount Pictures Paramount optioned the short story by Philip K. Dick . Film options To be more specific, when a screenplay is optioned, the producer has not actually purchased the right to use the screenplay he has simply purchased the exclusive right to purchase the screenplay at some point in the future, if he is successful in setting up a deal to actually film a movie based on the screenplay. This is usually a slow process in which a package of sorts is created. During this time, the producer must Get the screenplay written if the option was on a book or other work, and not a screenplay Obtain informal agreements with the director film director , the principal actor s, and the financier s Take it to a movie studio studio or other potential financier and potentially help ... more details
Missing information billing for plays, television, and other creative works date December 2009 Refimprove date December 2009 File Marquee Sign.jpg thumb right 282px Man on a ladder, changing the billing on a Marquee sign marquee in Chapel Hill, North Carolina . Billing is a performing arts term used in referring to the order and other aspects of how Credit creative arts credits are presented for plays, films, television, or other creative works. Information given in billing usually consists of the companies, actor s, film director director s, film producer producer s, and other crew members. Films From the beginning of motion pictures in the 1900s to the early 1920s, the moguls that owned or managed big film studios did not want to bill the actors appearing in their films because they did not want to recreate the star system that was very prominent on Broadway at that time. Citation needed date December 2009 They also feared that, once actors were billed on film, they would be more popular and would seek sky high salaries. Actors themselves did not want to reveal their film careers to their stage counterparts via billing on film, because at that time working in the movies was deplorable and unacceptable to stage actors. Citation needed date December 2009 As late as the 1910s, stars as famous as Mary Pickford and Charlie Chaplin were not known by name to moviegoers. According to Mary Pickford s biography Doug and Mary , ref Doug & Mary A biography of Douglas Fairbanks & Mary Pickford, by Gary Carey, E.P. Dutton, 1977, ISBN 978 0525095125 ref Page needed date December 2009 she was referred to by the public as the Biograph girl in all of her films before 1905. Note American Mutoscope and Biograph Company Biograph was an early motion picture producer. Before Mary Pickford , the public used to call Florence Lawrence the Biograph girl but in 1910 Lawrence was lured away from Biograph by Carl Laemmle when he started his new Independent Motion Picture Company IMP . Laemmle ... more details
no footnotes date April 2011 A beat is a term used to describe the timing and movement of a film or play. In the context of a screenplay , it usually represents a pause in dialogue. In the context of the timing of a film, a beat refers to an event, decision, or discovery that alters the way the protagonist pursues his or her goal. Beats as pacing elements Beats are specific, measured, and spaced to create a pace that moves the progress of the story forward. Audiences feel uneven or erratic beats. Uneven beats are the most forgettable or sometimes tedious parts of a film. Erratic beats jolt the audience unnecessarily. Every cinematic genre has a beat that is specific to its development. Action film has significantly more beats usually events Drama film drama has fewer beats usually protagonist decisions or discovery . Between each beat a Sequence filming sequence occurs. This sequence is often a series of scenes that relates to the last beat and leads up to the next beat. In most American films the beat falls approximately every five minutes. Following is a beat example from The Shawshank Redemption At 25 minutes Andy talks to Red and asks for rock hammer. Decision At 30 minutes Andy gets rock hammer. Event At 35 minutes Andy risks his life to offer financial advice to Mr. Hadley. Decision At 40 minutes Andy notes ease of carving his name in the wall. Discovery After each beat listed above, a significant series of results takes place in the form of the sequence, but what most people remember are the beats, the moment something takes place with the protagonist. Beats in a screenplay When the term beat is used in a screenplay, it usually refers to a pause in dialogue. The pause shows readers of the script that a moment passes without any character speaking. For example, this scene from the American film Fargo film Fargo VOICE Things have changed. Circumstances, Jerry. Beyond the, uh ... acts of God, force majeure... JERRY What the how s Jean? A beat. CARL ... Who s Jea ... more details
For other uses of the Kodacolor brand, see Kodacolor . tweaked otheruses phrasing In film motion pictures , Kodak Kodak s Kodacolor brand was associated with an early Lenticular lens lenticular additive color film system, first introduced in 1928 for 16mm film . ref name mphistory 89 http www.kodak.com US en motion about chrono1.shtml Chronology of MP Films 1889 to 1939 , kodak.com. Article retrieved 2006 12 02. ref The process was based on the Keller dorian cinematography Keller Dorian system of Lenticular lens lenticular color photography. The process used a special panchromatic black and white film stock used with the emulsion away from the lens. ref name forever16 Garfinkel, Steve, http www.kodak.com US en motion 16mm features forever16.jhtml Forever 16 Kodak celebrates 80 years of 16 mm film , kodak.com. Article retrieved 2006 12 02. ref The film base in front of the emulsion was embossed with a mass of tiny lenses, the purpose of which was to form small images of a striped filter which was attached to the camera lens. The filter had three colored stripes red, green and blue violet when an exposure was made the varying proportion of each color reflected from the subject passed through the filter and was recorded on the film beneath each of the embossed lenses as areas of strips in groups of three, each strip varying in density according to the received color value Dufaycolor used similar principles, but had the filter as part of the film itself . Filming required the camera to be used at f 1.9 only, so that the striped filter worked correctly. The original Kodacolor film required an exposure of about a 1 30 second at f 1.9 in bright sunlight representing a film speed in modern terms of about 0.5 ISO. The later Super Sensitive Kodacolor could be used outdoors in any good photographic light, and even indoors under favourable conditions. To project the film a projector was required fitted with the Kodacolor Projection Filter , which is similar in appearance the fi ... more details
http www.jamesgunn.com otherstuff.html James Gunn Article on All I Need to Know About Filmmaking ... books about film directors and producers it All I Needed to Know About Filmmaking I Learned from ... more details
The music editor is a person in film or other multimedia productions e.g. video or games responsible for compiling, editing, and syncing music during the production of a soundtrack . Among the music editor s roles is creating a temp track , which is a mock up of the film s soundtrack using pre existing elements to use for editing, audience previews, and other purposes while the film s commissioned film score score is being composed. ref cite news url http journals.cambridge.org action displayAbstract jsessionid 1ED055AE054662A467224DB6175F65C6.tomcat1?fromPage online&aid 434747 publisher Popular Music publisher Cambridge University Press year 2006 title The role of the music editor and the temp track as blueprint for the score, source music, and scource music of films author Ronald H. Sadoff ref References reflist Category Entertainment occupations Category Film crew Category Media occupations ... more details
Unreferenced date August 2007 A One Liner Schedule or One Line Schedule is a filmmaking term for a shorter version of the shooting schedule . This type of schedule usually omits information about cast and location. Filmmaking Paper Trail Category Film production ... more details
Unreferenced date August 2007 A sound report is a filmmaking term for a sheet of paper created by the Production sound mixer Sound Mixer to record details of each take recorded, the Digital Audio Tape DAT or DVD program number PNO or timecode and any other comments. It may also include the number of audio or DAT tapes used for the day s recording. Filmmaking Paper Trail Category Film production filmmaking stub ... more details
Unreferenced date August 2007 A cost report is a filmmaking term for a weekly report, compiled by the Production Accountant, detailing the costs to date, costs this week and estimate of the costs to complete the film. There are many other types that are related to multiple fields of work. Filmmaking Paper Trail Category Film production ... more details
In filmmaking, external rhythm also referred to as cutting rhythm is established by the duration of the shot filmmaking shot s that make up a scene film scene . Lengthening or shortening the duration of the shots establishes a rhythmic pattern that can complement or contrast with the internal rhythm and content of a scene or sequence. The kinds of Film transition transitions e.g., cut transition cut , fade filmmaking fade , dissolve filmmaking dissolve , wipe transition wipe used from shot to shot or from scene to scene also affect the nature of the cutting rhythm. Category Film production Category Film editing ... more details
cat improve date February 2012 Unreferenced date August 2007 The Film Inventory Report or Daily Raw Stock Log is a filmmaking term for a report produced by the clapper loader each day. The report shows how much raw film stock was used that day, the number of good and no good shots and the amount of film stock wasted. Filmmaking Paper Trail Category Film production ... more details
A script analyst , script reader, or story analyst is an individual who reads a film script to determine the material s desirable and undesirable characteristics as relates to story and film production . This information is invaluable to determining the potential marketability of the finished film. References Garfinkel, Asher Screenplay Story Analysis Allworth Press, 2007 ISBN 978 1 58115 478 8 DEFAULTSORT Script Analyst Category Filmmaking occupations filmmaking stub ... more details
wiktionary gripper A gripper is some that grip things or makes it easier to grip things. It may refer to grippers , tools for building hand strength a Robot end effector , the hand of a robot a person working in a grip job , a position held in filmmaking disambiguation ... more details
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