This document contains a checklist of production forms and requirements for a film production company called Wurld in ʍotion. It includes sections listing staff and crew positions, equipment, vehicles, locations, and post-production roles. The checklist contains over 100 individual items to ensure all necessary production elements are accounted for.
This document provides a template for conducting a risk assessment for a film production. It involves identifying hazards, who may be harmed, existing controls, risk levels, and further actions needed. Examples given include risks from hot sand, an on-set dog, and campfires. The assessment should also consider emergency contact information and communication abilities on location. Completing a full risk assessment with proper controls is important for safety on a film shoot.
This document contains several production forms for a film shoot, including a shooting schedule, continuity log, music reference, and sound report. The shooting schedule lists the shots planned with details like scene numbers, setup times, and descriptions. The continuity log tracks takes with timecodes, descriptions, and other production details. The music reference form catalogs music cues by scene with timing, genre, and reference information. The sound report tracks audio tracks and files by scene with notes.
This document appears to contain templates and forms related to cinematography work for a production company called WURLD IN MOTION. The forms include sections for lighting diagrams, pre-production planning, location information, camera reports, and shot lists. The forms provide sections for key production details like the production title, dates, locations, personnel, equipment, and technical specifications.
UK Film at BFI London Film Festival 2014 "catalogue"wurld
this Catalogue is a resource complied by British Council Film, which acts as a link between UK films and filmmakers and new international audiences. British Council Film works with a range of programme selector teams from the world’s premiere international film festivals, to arrange preview screenings in London of the best new British films. Each catalogue is compiled as a printable PDF and is intended as a reference tool to assist Festival programmers, film buyers and sales agents, as well as other filmmakers, students, statisticians and film historians.
NexTV Entertainment is a multi-faceted entertainment company founded by Randy Becker to connect emerging artists with industry leaders. The document outlines Becker's experience transitioning from acting to producing and developing NexTV with the goals of facilitating content creation, building strategic partnerships, and acquiring projects that meet artistic, alliance-building, and revenue-generating criteria. It also provides a project evaluation checklist used by NexTV to systematically assess potential productions based on elements such as budget, characters, genre, attached talent and rights, value to the company, and exposure.
For over 30 years Pelican Products has built a reputation for manufacturing the toughest Protector CaseTM in the world.
As a matter of fact, we invented the category. Over these years we’ve seen our cases used for some fairly crazy activities... and important ones, too.
PelicanTM cases have been thrown out of helicopters in Iraq, floated through frigid fjords in Norway and rolled over by SUVs in Tanzania. With only a few
scratches to show on the outside, contents inside are left unscathed. These are minor details for major bragging rights. And that is really what it’s all about. Getting your gear from point A to point B in the condition it’s meant to be in: intact and functional. Because it might contain a large format camera that will shoot next month’s magazine cover or a heart defibrillator that could save a person’s life, you can’t put a price on it.
This document provides a template for conducting a risk assessment for a film production. It involves identifying hazards, who may be harmed, existing controls, risk levels, and further actions needed. Examples given include risks from hot sand, an on-set dog, and campfires. The assessment should also consider emergency contact information and communication abilities on location. Completing a full risk assessment with proper controls is important for safety on a film shoot.
This document contains several production forms for a film shoot, including a shooting schedule, continuity log, music reference, and sound report. The shooting schedule lists the shots planned with details like scene numbers, setup times, and descriptions. The continuity log tracks takes with timecodes, descriptions, and other production details. The music reference form catalogs music cues by scene with timing, genre, and reference information. The sound report tracks audio tracks and files by scene with notes.
This document appears to contain templates and forms related to cinematography work for a production company called WURLD IN MOTION. The forms include sections for lighting diagrams, pre-production planning, location information, camera reports, and shot lists. The forms provide sections for key production details like the production title, dates, locations, personnel, equipment, and technical specifications.
UK Film at BFI London Film Festival 2014 "catalogue"wurld
this Catalogue is a resource complied by British Council Film, which acts as a link between UK films and filmmakers and new international audiences. British Council Film works with a range of programme selector teams from the world’s premiere international film festivals, to arrange preview screenings in London of the best new British films. Each catalogue is compiled as a printable PDF and is intended as a reference tool to assist Festival programmers, film buyers and sales agents, as well as other filmmakers, students, statisticians and film historians.
NexTV Entertainment is a multi-faceted entertainment company founded by Randy Becker to connect emerging artists with industry leaders. The document outlines Becker's experience transitioning from acting to producing and developing NexTV with the goals of facilitating content creation, building strategic partnerships, and acquiring projects that meet artistic, alliance-building, and revenue-generating criteria. It also provides a project evaluation checklist used by NexTV to systematically assess potential productions based on elements such as budget, characters, genre, attached talent and rights, value to the company, and exposure.
For over 30 years Pelican Products has built a reputation for manufacturing the toughest Protector CaseTM in the world.
As a matter of fact, we invented the category. Over these years we’ve seen our cases used for some fairly crazy activities... and important ones, too.
PelicanTM cases have been thrown out of helicopters in Iraq, floated through frigid fjords in Norway and rolled over by SUVs in Tanzania. With only a few
scratches to show on the outside, contents inside are left unscathed. These are minor details for major bragging rights. And that is really what it’s all about. Getting your gear from point A to point B in the condition it’s meant to be in: intact and functional. Because it might contain a large format camera that will shoot next month’s magazine cover or a heart defibrillator that could save a person’s life, you can’t put a price on it.
ARTS PHILANTHROPY: TOWARDS A BETTER PRACTICE MODELwurld
The purpose of this report is to present an overview of philanthropic giving by Trusts and foundations to the arts in australia. It discusses emerging trends and opportunities in philanthropy and outlines best practice arts philanthropy models that aim to deepen understanding and broaden support for the arts in australia.
The report identifies and examines the lack of strategic alignment between the arts and philanthropy. rectifying this will require new models of engagement, with
a focus on developing collaborative grant making platforms which deliver measurable benefit to the arts and the broader community.
Current philanthropic relationships in the arts tend
to be at the more traditional end of the philanthropic spectrum of giving. This approach to grant making contributes to both philanthropists and arts organisations experiencing frustration in regard to the lack of philanthropic funds available and the allocation mechanism used to distribute these funds.
a more strategic focus is required to ensure greater alignment between philanthropic funds and the types of projects most likely to be supported. This will result in more positive outcomes for both the arts and the broader community. Specifically, the report found that:
LA DIFFUSION DU FILM EUROPÉEN DANS L’UNION EUROPÉENNE ET SUR LE MARCHÉ MON...wurld
LA DIFFUSION DU FILM EUROPÉEN DANS L’UNION EUROPÉENNE
ET SUR LE MARCHÉ MONDIAL
Ce rapport de Josef Wutz cherche à dresser un état des lieux de la diffusion du cinéma européen en Europe et dans le monde entre 2002 et 2014. Pour cela, il prend en compte l’ensemble des acteurs de la chaîne du film : producteurs, distributeurs, exploitants, mais aussi éditeurs de vidéo et organismes publics d’aide au cinéma et s’attache plus spécifiquement à quatre pays : l’Allemagne, l’Espagne, la France et l’Italie. Valentin Pérez formule ensuite des recommandations visant à rendre plus visible le cinéma européen.
Quatre grandes tendances actuelles auxquelles le cinéma européen est aujourd’hui confronté peuvent constituer des défis considérables : un taux record de productions européennes malgré une stagnation des parts de marché, la numérisation des salles, la conservation de la diversité et de la qualité artistiques et l’arrivée de nouveaux modes de consommation de films européens.
Ces nouvelles tendances ont un coût supporté en partie par des aides publiques, qui atteignent des niveaux nationaux disparates et concernent tous les secteurs : distribution, exploitation, vidéo, promotion, nouvelles technologies, avec une prédominance pour la production. Une amélioration de la diffusion du cinéma européen, en Europe et dans le monde entier, est possible si les marchés et les aides publiques arrivent à être correctement réajustés pour être en accord avec les besoins nouveaux.
À ce titre, le rapport formule quatre recommandations principales :
1. Rééquilibrer les aides à la production et à la distribution ;
2. Aider les exploitants en imposant, en contrepartie, une régulation de la
programmation du cinéma européen en Europe ;
3.Stimuler de nouvelles voies de distribution en tenant compte du
numérique ;
4. Prendre en compte l’apport culturel du cinéma dans l’image de l’Europe.
Les progrès technologiques, via la numérisation des supports comme des procédés de diffusion, ont rendu les œuvres audiovisuelles de plus en plus accessibles de par le monde. Importante opportunité de croissance pour les uns. Risques accrus de piratage pour les autres. A l’instar de l’industrie phonographique, le secteur du DVD voit sa part de marché diminuer inexorablement. Mais le marché « dématérialisé » en a-t-il tiré profit ?
Ce nouveau focus tente une approche synthétique du secteur de la VOD dont la mutation concerne tous les acteurs du secteur audiovisuel : producteurs, distributeurs, agents de vente, diffuseurs...
The Sundance Film Festival saw strong buyer activity in 2013, with 45 films acquired, the second highest number this century. There were over 12,000 submissions for the festival, demonstrating the difficulty of being accepted. Several films were acquired at high prices, including jOBS for $10 million. Fruitvale and Blood Brother won the top jury awards. The festival continued to see a rise in the number of films directed by women. Visual effects studio Rhythm & Hues filed for bankruptcy after the Oscars. Participant Media formed a new Latin American film fund with companies in Mexico, Chile, and Colombia.
To encourage international co-production opportunities and help producers develop their projects, the Festival de Cannes launched in 2004 a specific program: Producers Network.
While a large percentage of entertainment is filmed on soundstages in Culver City, Hollywood, Los Angeles and the San Fernando Valley, the images you see on movie and television screens don’t all come from studio lots. From natural landscapes to historical landmarks, from public spaces to private homes, the entertainment industry is always looking for unique locations.
Established in 2006, 6 SALES is a Film Sales and Finance company with offices in Madrid and Barcelona, representing high quality English language and World Cinema theatrical films, documentaries and animated features.
Welcome to the 2014 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2013. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful.
Welcome to the 2013 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2012. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful.
This document provides information about the Cannes Film Festival, including its sections and events. It discusses the Festival de Cannes, which features films in and out of competition that compete for awards. It also describes the Marché du Film, the largest film market that attracts buyers, sellers, and producers. The document provides tips for first-time attendees on getting accredited, making connections, attending screenings and readings trades to learn about business opportunities. Overall, it offers an overview of the festival and market sections, events, and advice for maximizing the experience.
This document discusses trends in the world film market, with a focus on films from third countries in European markets. Some key points:
- Films from third countries have increased their market share in the EU from 14.7% in 2002 to 21.2% in 2006. However, their share of total admissions was lower, doubling from 1.6% to 3.3% over this period.
- Canadian, Australian, and Japanese films had the highest market shares by admissions in the EU, while Indian films performed best in the UK.
- Co-productions between European countries and third countries helped increase market access for films from Latin America, Africa, and elsewhere.
- Television broadcasts and video
ARTS PHILANTHROPY: TOWARDS A BETTER PRACTICE MODELwurld
The purpose of this report is to present an overview of philanthropic giving by Trusts and foundations to the arts in australia. It discusses emerging trends and opportunities in philanthropy and outlines best practice arts philanthropy models that aim to deepen understanding and broaden support for the arts in australia.
The report identifies and examines the lack of strategic alignment between the arts and philanthropy. rectifying this will require new models of engagement, with
a focus on developing collaborative grant making platforms which deliver measurable benefit to the arts and the broader community.
Current philanthropic relationships in the arts tend
to be at the more traditional end of the philanthropic spectrum of giving. This approach to grant making contributes to both philanthropists and arts organisations experiencing frustration in regard to the lack of philanthropic funds available and the allocation mechanism used to distribute these funds.
a more strategic focus is required to ensure greater alignment between philanthropic funds and the types of projects most likely to be supported. This will result in more positive outcomes for both the arts and the broader community. Specifically, the report found that:
LA DIFFUSION DU FILM EUROPÉEN DANS L’UNION EUROPÉENNE ET SUR LE MARCHÉ MON...wurld
LA DIFFUSION DU FILM EUROPÉEN DANS L’UNION EUROPÉENNE
ET SUR LE MARCHÉ MONDIAL
Ce rapport de Josef Wutz cherche à dresser un état des lieux de la diffusion du cinéma européen en Europe et dans le monde entre 2002 et 2014. Pour cela, il prend en compte l’ensemble des acteurs de la chaîne du film : producteurs, distributeurs, exploitants, mais aussi éditeurs de vidéo et organismes publics d’aide au cinéma et s’attache plus spécifiquement à quatre pays : l’Allemagne, l’Espagne, la France et l’Italie. Valentin Pérez formule ensuite des recommandations visant à rendre plus visible le cinéma européen.
Quatre grandes tendances actuelles auxquelles le cinéma européen est aujourd’hui confronté peuvent constituer des défis considérables : un taux record de productions européennes malgré une stagnation des parts de marché, la numérisation des salles, la conservation de la diversité et de la qualité artistiques et l’arrivée de nouveaux modes de consommation de films européens.
Ces nouvelles tendances ont un coût supporté en partie par des aides publiques, qui atteignent des niveaux nationaux disparates et concernent tous les secteurs : distribution, exploitation, vidéo, promotion, nouvelles technologies, avec une prédominance pour la production. Une amélioration de la diffusion du cinéma européen, en Europe et dans le monde entier, est possible si les marchés et les aides publiques arrivent à être correctement réajustés pour être en accord avec les besoins nouveaux.
À ce titre, le rapport formule quatre recommandations principales :
1. Rééquilibrer les aides à la production et à la distribution ;
2. Aider les exploitants en imposant, en contrepartie, une régulation de la
programmation du cinéma européen en Europe ;
3.Stimuler de nouvelles voies de distribution en tenant compte du
numérique ;
4. Prendre en compte l’apport culturel du cinéma dans l’image de l’Europe.
Les progrès technologiques, via la numérisation des supports comme des procédés de diffusion, ont rendu les œuvres audiovisuelles de plus en plus accessibles de par le monde. Importante opportunité de croissance pour les uns. Risques accrus de piratage pour les autres. A l’instar de l’industrie phonographique, le secteur du DVD voit sa part de marché diminuer inexorablement. Mais le marché « dématérialisé » en a-t-il tiré profit ?
Ce nouveau focus tente une approche synthétique du secteur de la VOD dont la mutation concerne tous les acteurs du secteur audiovisuel : producteurs, distributeurs, agents de vente, diffuseurs...
The Sundance Film Festival saw strong buyer activity in 2013, with 45 films acquired, the second highest number this century. There were over 12,000 submissions for the festival, demonstrating the difficulty of being accepted. Several films were acquired at high prices, including jOBS for $10 million. Fruitvale and Blood Brother won the top jury awards. The festival continued to see a rise in the number of films directed by women. Visual effects studio Rhythm & Hues filed for bankruptcy after the Oscars. Participant Media formed a new Latin American film fund with companies in Mexico, Chile, and Colombia.
To encourage international co-production opportunities and help producers develop their projects, the Festival de Cannes launched in 2004 a specific program: Producers Network.
While a large percentage of entertainment is filmed on soundstages in Culver City, Hollywood, Los Angeles and the San Fernando Valley, the images you see on movie and television screens don’t all come from studio lots. From natural landscapes to historical landmarks, from public spaces to private homes, the entertainment industry is always looking for unique locations.
Established in 2006, 6 SALES is a Film Sales and Finance company with offices in Madrid and Barcelona, representing high quality English language and World Cinema theatrical films, documentaries and animated features.
Welcome to the 2014 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2013. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful.
Welcome to the 2013 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2012. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful.
This document provides information about the Cannes Film Festival, including its sections and events. It discusses the Festival de Cannes, which features films in and out of competition that compete for awards. It also describes the Marché du Film, the largest film market that attracts buyers, sellers, and producers. The document provides tips for first-time attendees on getting accredited, making connections, attending screenings and readings trades to learn about business opportunities. Overall, it offers an overview of the festival and market sections, events, and advice for maximizing the experience.
This document discusses trends in the world film market, with a focus on films from third countries in European markets. Some key points:
- Films from third countries have increased their market share in the EU from 14.7% in 2002 to 21.2% in 2006. However, their share of total admissions was lower, doubling from 1.6% to 3.3% over this period.
- Canadian, Australian, and Japanese films had the highest market shares by admissions in the EU, while Indian films performed best in the UK.
- Co-productions between European countries and third countries helped increase market access for films from Latin America, Africa, and elsewhere.
- Television broadcasts and video
11. SOMEBODY once told me:
Without actually grabbing a camera and working with awesome people – some of whom
with more experience than you… All the resources in the world will do you no good.
MADE by CEO Ludgy Wu
Post-Production: Editing
Picture Editing
Music
VFX
Post Supervisor:
P: E:
ADR Editor:
P: E:
Lead VFX Artist:
P: E:
VFX Artist:
P: E:
Title Designer:
P: E:
Animator:
P: E:
Editor:
P: E:
Assistant Editor:
P: E:
Sound Editing
Assist. ADR Editor:
P: E:
Foley Artist:
P: E:
Assist. Foley Artist:
P: E:
Scoring
Name: Name:
P: P:
E: E:
Composer
Name: Name:
P: P:
E: E:
Orchestra
Name: Name:
P: P:
E: E:
Sound Engineer
Name: Name:
P: P:
E: E: