It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.
Film and Digital Media
This guide focuses on resources for film and digital media students.
Delivers data and information that tracks people, projects, and companies across film, television and digital entertainment. It includes up to date and accurate development slates for TV networks, film studios and digital platforms so students are better informed about what Hollywood is buying and producing, direct contact information for over 50k entertainment executives, exportable project and talent lists, and talent representation including agents, managers, publicists and entertainment attorneys.
Sound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room. The accompanying audio DVD contains more than 50 tracks that demonstrate practical, real-world examples of key concepts presented in the book. A companion Web site provides further resources and information: www.focalpress.com/cw/holman-9780240813301/ Please use the access code located in the beginning of the book to register for access to the Web site.
Animation films are widely consumed in the general population and the study of animation films has blossomed. But music and sound are often marginalized, despite the significance of music, voice talent, sound design and effects for both the films and their marketing. Drawn to Sound unpacks animation film sound and music tracks, and contextualises them within the screen and music industries. Focusing on feature-length, widely-distributed films released in the post-WW2 period, the book highlights work from key centres of animation production, such as the USA, the UK, Japan, significant studios including Disney, Aardman Animation and Studio Ghibli, and major auteurs like Tim Burton. Chapters by animation experts such as Paul Wells and Daniel Goldmark and by film music authorities including Philip Hayward, Ian Inglis and Janet Halfyard offer international perspectives on the history and aesthetics of music and sound in animation film. Contributions from authors in Japan, Australia, England, the USA and Canada explore animation soundtracks, their creators and their production approaches. Different disciplinary perspectives from music, media, cultural and animation studies offer models for future analysis. As the first of its kind, this anthology is an invaluable resource for students, teachers and researchers in film, animation, music and media studies.
Since its initial publication in 1973, CINEMATOGRAPHY has become the standard guidebook on filmmaking techniques that emphasizes the cameraman's craft. Now completely revised and updated to include today's digital technology, it clearly and concisely covers what today's filmmaker needs to know about camera structure and operation, lenses, film stocks, filters, lighting and light measuring, and accessory equipment. In addition it provides up-to-date information on sound recording, editing, video transfer, studio and location shooting, production logistics, and modern techniques of picture manipulation with optical printers - a subject rarely treated in such detail in existing film books. Building on the groundwork he lays, Kris Malkiewicz explores more advanced techniques of overall picture quality control - now the filmmaker can translate the envisaged image to the screen through coordinating all aspects of cinematography. As Malkiewicz explains, whatever concept is desired, the filmmaker must be in full control of the technology in order to ensure success. Illustrated with more than 350 updated photographs and drawings, this new third edition of CINEMATOGRAPHY will continue to prove invaluable to filmmakers, film students and film teachers.
In this unique volume, thirty-five leading international filmmakers explain their reasons for pursuing a career in the movie industry, and reveal the film moments that stayed with them long after they left the movie theater. From Paul Schrader on Bresson's Pickpocket to Anthony Minghella on The Blue Angel, Screen Epiphanies provides extraordinary insight into the filmmaking process, while evoking the classic moments from world cinema that have influenced today's leading creative talents. The book is lavishly illustrated with both color and black-and-white with images from the films discussed.
"Behind-the-scenes" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore--from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves. Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of "media producers"--ranging from high-profile producers and directors to anonymous stagehands and costume designers--work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world. This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century. Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau
Elia Kazan was the mid-twentieth century’s most sought-after director of both stage and screen. He directed virtually back-to-back the greatest American dramas of the era—by Arthur Miller and Tennessee Williams—and revolutionized theatre and film with dynamic action, poetic staging, and rigorous naturalism. His list of Broadway and Hollywood successes—A Streetcar Named Desire(stage and screen),All My Sons, Death of a Salesman, Cat on a Hot Tin Roof, On the Waterfront, East of Eden, Baby Doll, America America,to name only a few—is a testament to his profound impact on the art of directing. Kazan’s insights into these and other classic stage works shaped their subsequent productions—and continue to do so. There is no directorial achievement in America equal to his. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, shows Kazan at work on each major play and movie—analyzing each piece in terms of his own experience; figuring out staging, costuming, casting; and working with writers on scripts and with actors on interpretations. The final section, “The Pleasures of Directing”—essays Kazan was writing in his last decade—is informal, provocative, candid, and passionate: a wise old pro telling us what to watch out for, how to fight the system, how to search for ourselves in each project, and how to have fun doing it. This monumental, revelatory book—published in Kazan’s centenary year—is essential reading for everyone interested in American movies and theatre.
Now there is no reason to prevent anybody from making a film. The technology exists, the equipment is much cheaper than it was, the post-production facilities are on a laptop computer, the entire equipment to make a film can go in a couple of cases and be carried as hand luggage on a plane. --Mike Figgis In this indispensable guide, Academy Award nominee Mike Figgis offers the reader a step-by-step tutorial in how to use digital filmmaking technology so as to get the very best from it. He outlines the equipment and its uses, and provides an authoritative guide to the shooting process--from working with actors to lighting, framing, and camera movement. He dispenses further wisdom on the editing process and the use of sound and music, all while establishing a sound aesthetic basis for the digital format. Offering everything that you could wish to know on the subject, this is a handbook that will become an essential backpocket eference for the digital film enthusiast--whether your goal is to make no-budget movies or simply to put your video camera to more use than just holidays and weddings.
Yellow pages of 92,400 technicians, facilities, producers Vacancies in new media, crew, production, art department, post Jobs for actors Trade your used broadcast/film equipment Manufacturers and resellers of new equipment Films for-sale and seeking distribution
ProductionHUB, Inc. (www.productionhub.com) is the global online industry resource and business networking community for those behind the camera: from film / television and video, to audio / visual, live event and digital media production. Developed in 1999, ProductionHUB serves as a tool for anyone with an Internet connection to find production products, equipment, services and professionals.
Indy Mogul is the network dedicated to film fanatics and aspiring auteurs alike. Our shows are focused on DIY filmmaking, cheap special effects, movie reviews and conversations with high profile filmmakers and special guests.