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Content

Film Making


Film Making



EVERYTHING YOU NEED TO KNOW ABOUT CHARACTER SCENES - INTERIOR AND SUNSET

The course teaches: Characters Scenes - Interior and Sunset: 3 Pint Lighting, ARRI HMI Lighting, Hi-LO Audio Selection, Blocking Actors, Composition, Close - UP (CU) Framing.

Acting: Rehearsing the Scene, Dry Reads, Defining The Character, Moment of Discovery, Scene Transitions ib Character, Improving the Character, Writing the Characters Bio.

Cameras: White Balancing Warm Cards,Setting Standard Daylight 5600K, Warm Card - Warm 1, Triangular Composition, Flat Lines, Shooting Into a Corner, Depth of Field, Shallow Angles, Cut Offs in Frame ( Neck, Waist, Knees).

Audio: Wireless Receivers, Setting Up Two microphones, Receivers Vs. Shotgun, Camera Default Microphone, Setting Camera Audio Gain.

Dollies: 4 Foot Move, Lighting in the Dolly Path, Close Up (CU) Positions, Dolly Moves to Final Frame, Creating the Dramatic Moment, Dolly Movement Time, Threshold Distance, Eye-Level Close Up Positions.

Lighting: Mimicking Natural Light, HMI Lights - Hot Re-Striking, Fogging Bulb, Focusing the lamp, Spot Vs. Flood, Using Bounce Boards, Soft Sourcing, Lighting Ballast.


DVD / 2011 / 57 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT FILMING ON LOCATION, PROGRESSION OF TAKES & DEFINING YOUR DIRECTING STYLE

The course teaches: Locations: Alcohol and Safety, Managing Location Providers, Fast Interior LED Lighting, Bar Interior.

Location Shooting: Rehearsing at the Location, Permissions, Working with the Location Owner, Substituting at the Location, Shooting Segways, Moving Locations For Exteriors, Wardrobe Continuity.

Acting: Positioning the Actors, Extras, Spontaneity, Improv, Staying in Character Between Locations, Using off Camera Voice Prompts, Progression of Takes, Getting a Hold on the Character.

Directing: Defining Your Style, Choosing The Takes, Changing the Delivery of Dialogue, Choosing the Scene Mood, Interacting with the Cast and Crew, Making the Decisions both on and off set, Body Language to The Left Right.

Lighting: Reach Minimums of 5o IRE Level, Quick Lighting on Location, Battery Operated Lights, Dimming the Light Path, Creating Primary Shadows, Using Panels, Hair Light, Key and Fill Light Balance, Kicker Lights or 3/4 back light, Gaining Up, White Balance Comparatives - 5600K Daylight - 4400K Fluorescent - 3200K Tungsten.

Camera: Camera Zebra, Gaining Up, Using Natural Surrounding Lighting, Set Lighting Comparatives, Get Your Shot Get Your Close Ups First, Shooting the Environment, 3 Dimensional Perspectives, Eyelines 3 Subjects, Matching Action, Framing for Intercutting, Establish Shots Using Curving Lines od Depth, Lower Angle Tripod Shots, Drawing Attention to the Actors or Background, Look Space, Film Cutaways, Depth of Field Focus and Rack Focus.

Microphones: Ambient Sound, Lavallière Microphone Vs. Shotgun, Matching the Sound to the Location, Low Cost Shotgun Microphones, Blending the Ambient Shots, Microphone Proximity.


DVD / 2011 / 76 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT FILMING WITH VEHICLES, JIBS IN-DEPTH, ACTING IN FRAMES & CAMERA FOCAL LENGTH

The course teaches: Jibs In-Depth: Mounting A Jib Inside a Vehicle, Axes of Movement, Panning and Tracking Shots, Camera Height.

Camera: Camera Mounted on Jib, Coming Into the Shot, Jib Assembly, Promax Cobra Crane, Using Frame Guides, Changing Camera Focal Length, Creating Repeating Patterns, Camera Close, Frame Interpolation, Lens Flare, French Flag, Elevating Camera Shot, Lens Filters, IRE Levels, Camera Level.

Shooting From Vehicles: Vehicle Preparation, Ratcheting the Rear, Mounting the Apple Box, Crane Tilting Action, Lashing The Camera, Counterbalancing The Crane, Crane Up and Down, Combining Jib Movement, Crane Zoom ShotTilt Up With Jib Tilt Down with Camera, Shot Motion, Softening The Ride, Keeping The Perspective During Movement, Side Shots, Leading Shots, Direction of Travel, Safety, Rehearsing the Move.

Acting: Crossing the Shot, Left to Right, Camera Towards, Camera Away, Moving In and Out of Frame.


DVD / 2011 / 63 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT FILMMAKING: ACTING CONTINUITY, LIGHTING MOODS, CRANKING THE CAMERA, LIGHTING NIGHT TO DAY AND NIGHT EXTERIORS

The course teaches: Segments: FAUX Sunrise Lighting In Depth, Color Harmony, Screen Mass, Gamma Cycle - Interior Tungsten, Lighting Moods: 4 Lights with 3 Lights, Shooting Night Exteriors.

Acting: Believe you are the character, Keep The Actors Informed What You Are Doing, Wardrobe Color Harmony, Wardrobe Color Contrast, Blocking The Props, Scene Continuity, Range Of Movement, Defining Head Room, Positions and Marks.

Camera: Under-cranking the camera, Shooting at a slower frame rate, Shooting at 12 Frames Per Second, Over-cranking the Camera, Shooting at 48 Frames Per Second, Low Angle/Higher Angle, Shooting Night Exteriors, Establishing The Wide Shot.

Lighting: Light Bouncing Off Reflectors, Lighting Conventions, Advanced Light Gag, Creating Movement of the Sun, Adding Tinted Blue, Contrast the Moon With The Sun Rise, Tinting the Fill Light, Using Diffusion Gels, Using Low Level Lights, White Balance with Warm Card 3, Using Color Temperature Gels, Using Effect Lighting Creating Wall Pattern, Calculating Light Wattages, Scene Masses Left - Right Frames, Color Separation, Silhouette Shots, Circular Camera Moves, Balancing Sodium Vapor Street Lights With Tungsten.


DVD / 2011 / 69 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT FOLLOW FOCUS, SPEED CRANKS, FOCUS PULLING, WHIPS & EXTENSIONS

This program focuses on Follow Focus Devices with Karl Horn from Cinetech. Experienced shooters of Pro HD or SD Digital Cinema Camera rely on the focusing dial to create more dramatic transitions into actors or objects. Forget your wrist, learn to use follow focus wheels that reorient the direction of the focus dial to one that more easily fits the movement of the human body. They give you focus stops, so that you don't have to guess where your subject is. Just set up the A and B stops and go from A to B. No guess work. This comes in very handy in cameras that do not have numerical readouts for focus marks. Learn use of whips and extensions for focus pulling devices allowing you or a crew "focus puller" to pull focus from behind the camera so that you can just concentrate on panning and tilting the camera with the actor.

Teaches: Focus Pulling Techniques, Follow Focus Types, Single/Double Wheel, Whips and Extensions, Speed Cranks, Rear-Firing Configurations and much more.


DVD / 2011 / 62 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT HEAVY STUDIO DOLLIES, DOLLY TRACKS, DOLLY MOVES PRO MIKE BOOMS AND JIB MOVES

With 35-year Veteran Hollywood Key Grip Chet Spinney. This teaching course teaches Heavy Studio Dollies, Balancing Dolly Track, Proper Dollying Methods, Dolly & Jib Moves, Pro Mic Booms and much more. You can get away with using compact dollies on many occasions, but there are certain situations where you will be required to help set up or operate a heavy dolly. Spinney will help you understand the principles of balancing a dolly track, pushing techniques, proper movement, and braking. After that, Steve Schuneman will share his extensive experience operating Pro Mic Booms on multi-million dollar TV shows. He will show you how to operate a pro mic boom, or communicate with your boom operator so that you can have a more productive set experience. As a filmmaker, you should be familiar with the operation and terminology, facets and limitations, of every piece of equipment on the set. This program will help get you one step farther, in a generally ignored part of the industry that doesn't get the glitz of body-mounted camera systems, but has been a mainstay of every indie and studio film for decades.

DVD / 2011 / 35 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT IN SET LIGHTING, ACTING & SHOOTING THE SCENES

The course teaches:

ON SET LIGHTING & CAMERA: Avoiding Trade Marks On Screen, Setting Proos, Adding Color To The Set And Practical's, Setting The Tones For The Scene, Using Spot Bulbs, Ceiling Fill Lights, Gamma Tones - Mid Tones and Color, Gamma Noise, Multiple Shots - Varying Angles, Height, Framing, Close-Ups, Jib Down Shot, Dolly Shot - Reveal - Costume Reveal, Dutch Angle, Camera Roll, Setting the White Balance in the Field, Reflectors - Soft Gold - Hard Gold - Soft White, HMI and Daylight, Using Dimmers, Leaning The Jib with the Actor, Jib Left and Right Movement, Director of Photography (DP) Shot Options, Steady Shots, Tilt Down to Actor Angle, Natural Jib Vs. Unnatural Zoom, Cutting From Wide Shot to Close-Up, Measuring The Light Positions, Using Natural Light, Microphones - On Camera Vs. Boom, Underexposure Shots.

ON ACTING: Jib Usage, Dolly VS. Zoom, Lighting in the Pocket, Props, Imaging the Scene, Preparing the Actor to Portray the Character, Reversing The Scenes, Controlling The Scene Action, Refining The Actors Movement with the Crew, Blocking The Shot, Using Storyboards, Setting The Scene Shadows, Multiple Takes, Side Looks, Hitting The Marks for Light Pockets.

SHOOTING THE SCENES: Grouping Shots, Multiple Shots, Setting the Eye Line, Over the Shoulder Shots, Line of Sight, Defining the Left and Right Angles, Perspectives, Creative Shots.


DVD / 2011 / 105 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT LIGHTING FOR DARK INTERIORS

The course teaches: Lighting For Dark Interiors: Using Gain to See Light Sources, Bad Version of Lighting, Blocking for Shadows, Scrim Usage In Depth, Gamma Settings, Compositing for Dominance, Framing to Help the Script. The Set Balance: Examine Normal Lighting - Striating Point, Monitor Comparatives - Dynamic Range, Professional Vs. Consumer Monitors. Camera: Reverse Angles, Blackening The Light, Test Lighting, Camera Positions, Rehearsing With HMI, Switching Body Positions, Blocking The Actors to Allow for Frame Space. Lighting: Bad Lighting Examples, Losing The Characters, Deep Shadows, No Framing and Positioning Examples, Using Lowel Clamps, Buffering The Clamps, Chimera With Soft Box, Light Gags, Sculpting the Frame, Lighting for Mood, Contrast Range, Blue Rimmed Scrims, Single Scrims, Double Scrim, Trippe Scrip, Gamma Settings for Interiors, Cine-Like D Gamma Cine Matrix, Cine Like V Gamma Cine Matrix, Cine Like D Gamma Normal Matrix, Cine Like V Gamma Normal Matrix, Cine Like D gamma Fluoro Matrix, Cine Like V Gamma Fluoro Matrix, Key Light Positions, Matching Light Patterns, Controlling Barn Doors, Adjusting f-stops, Acceptable Double Shadows, Diffusion Gels, Using Silk Flags, Half Diffusion, Full Diffusion, Using Suction Bases for light Stands, Internal Internal Baffles, Neutral Density Gels.

DVD / 2011 / 42 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT MATTEBOXES, SUNSHADES, FRENCH FLAGS, ELECTRO-MONIC FOLLOW FOCUS & MONITOR HOLDERS

This teaching course teaches Mounting Matteboxes, Using French Flags, Side Flags, Baseplates and Rods, Sunshades, Filter Holders, Camera Design Issues, Zoom Controllers, Electronic Focus and much more. How do they achieve that crisp, contrast look in films, even when shooting into the sun? Why is it that when you try it, the shot is milky or hazy? The Mattebox is the device that solves that problem. It's great shooting into the sun. You get great highlights everywhere, the actors are naturally backlit, the sun isn't in their eyes and the scene looks more dynamic. But you need protection for the camera lens from haze and the major culprit, flare. Matteboxes allow you to control flare like never before. They also allow you to mount 4×4 and sometimes 4×5.65 filters all this is demonstrated in the program.

DVD / 2011 / 58 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT SCENE - TO SCENE PRODUCTION INBOX

Learn Everything You Need To Know About Filmmaking - Scene To Scene. A full-Immersion learning experience rather than Discipline-Specific Learning. The course teaches: Learning techniques of production techniques and those conventions will apply to most production environments regardless of the camera being used. The information is useful and applies whether using an HDSLR or other single-sensor camera. Learning techniques of production techniques and those conventions will apply to most production environments regardless of the camera being used. The information is useful and applies whether using an HDSLR or other single-sensor camera.

Avoiding Bad Production Habits and Learning From Errors: Auto White Balance, Auto Iris, Standard Gamma, Standard Color Matrix, Auto Focus. Production - Scene One – Interior: 3 Point Lighting, kino Flo Lighting, Audio Selection, Blocking Actors, Set Décor. Lighting: Placeholders, Why Are These Lights Being Used?, Natural Light Sources, Blending natural and Grip Lighting, Gain up the Lights, Avoiding Color Grain, Film Grain, Defining Light Paths, Rim Light Focus, Key Lighting - Brightest Light on the Set, Creating Highlights – Backlights, Adding Orange Gel to Match Tungsten, Matching The Color Temperature, Fill lights, Setting Light Gain. Sets and Props: Foreground Objects, Sense of Motion, Avoiding Distracting Objects, Adding Foreground Objects, Movement with a Wide Angle Lens. Acting: Coaching The Actors Movements, Hand Gestures and Movement, Establishing Natural Movements, Dollying in for a dramatic moment, Director and Actor Connection, Shifting The Characters Demeanor, Reacting to the script, Additional Shots Close Ups. Audio: Audio Cues, Shotgun Mic Placements, Lavaliers on Set, Mixing The Set Audio.


DVD / 2011 / 56 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT SCENE POSITIONING - MOOD OF THE SCENE- SHOT FRAMING PERSPECTIVES

The course teaches: Subjective White Balance, Vehicle Monitor Power, Improvised Wind Screens, Sculpting The Frame, The Shot Schedule. Acting: Creating The Mood, Blocking The Path Lines, Positioning The Scene, Face Portraying The Mood of Scene, Timing of Props, The Audience Focus, Facing The Hand Props, Tightening Up The Beats, Modifying Action, Looking Up or Down to Shot, Portraying Emotions. Camera: Reverse Angles, White Balance Modifiers, Golden Light, Adjusting Perceptual White Balance, Overriding The Camera Defaults, Shooting Neutral, Measuring The Scene, Rack Focusing, Framing perspectives, Visually Uniting the Actors, Camera Out of Frame, Shot Distancing, Dolly Grip, Dolly Speed, Compare and Contrast Shot, Defining The Shot Schedule, Color Temperature. Monitor: Calibration, Set Color - Real Color, 12V vs. 120 V. Microphones: Creating Wind Covers, Using Moleskins.

DVD / 2011 / 88 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT SCRIPTWRITING

The course teaches: Screenwriting: Screenplay Format, Structure of Screenplay Format Acts 1,2 and 3, Concepts of Writing, Constructing Realistic Characters, Scene Sequence. Writing The Script: The written Word, Good Script Vs. Bad Script, Formatting - Key to Shooting, Writing Clearly, Developing The Story, The Components of a Screenplay, Creative Writing Techniques, Reaching the Unconscious Mind, Understanding the Creative Process, Developing Writing Habits, Editing work Vs. Creating the Story, Writing Consistency, The Nucleus of a Story. Script Development: Outline the Screenplay, Premise of the Story, Who are the Characters? What are their Necessities? What are the Conflicts? How the Story Will End, Making a Log Line, Setting a Genre for the Story, Consistent Theme, The First Draft. Delivering The Story:The Linear Screenplay, Flash Forward, Flash Back, Defining a Scene, Character Enhancement, Dramatic Contrast - Push Forward - Pull Back Methods, Mood of The Scenes, Revealing The Characters and Story to the Audience, Scriptwriting.

DVD / 2011 / 59 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT SET & WARDROBE , ACTOR AND DIRECTOR, CAMERA ANGLES - ADVANCING THE STORY

The course teaches: Acting – Directing, Set Decor and Wardrobe, 2 Point Lighting, Using Practicals With Pro Lighting, Jib And Dolly Usage, Jib Down. Acting: Setting The Tempo, Counting The Beats of Dialogue, Distancing, Intervals of Movement, Shot Grouping, Multiple Takes, Nerves, Settling Down With The Part, Stop and Rehearse, Stopping The Takes, Directing The Actor, Remaining In Character, Reacting To The Dialogue, Eye Expression, Leading The Actor. Cutting The Scene: Crosscuts, Hard Cuts, Perspectives. Set: Dressing The Set, Wardrobe Light Absorption, Wardrobe Continuity, Script Supervision, Choosing The Wardrobe for Character. Camera: Closeup Vs. Wide Shop, Slating Takes,Shooting The Complete Scene, Repeating The Take From Different Angles, Shooting Complete Closeups From Both Sides, Shooting To Match Actors Appropriate Height, Balancing The Foreground/Background Exteriors, Pan Shots, Tracking Shots, Face Room/Look Space, Racking The focus, Panning Approach To Scene End, Tracking Medium or Closeup, Tilt Down. Microphones: Microphone Proximity, Microphone Db Gain.

DVD / 2011 / 94 minutes

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EVERYTHING YOU NEED TO KNOW ABOUT TRIPODS, BAGS, REFLECTORS, FLUID HEADS, PICKING THE RIGHT TRIPOD, CAMERA MOUNTS

Focuses on Tripods, Bags and Reflectors with Mark Bender from Bogen Imaging. The more you use your pro camera, the more you find that it deserves a pro camera bag, specifically designed to safely and lightly carry cameras and accessories. Learn to pick the right type, and how to make it work for your projects. Also, learn how to setup and operate light and heavy tripods, the difference between friction and fluid heads and how to pick the right tripod to do the job. An added bonus is a section on reflector types, what uses they have and how to get the most out of them.

DVD / 2011 / 75 minutes

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