6 blog posts found matching keyword search for: 1st AD in Kissimmee
above: Chicago-based AD Stephanie Clemonsby featured blog contributor, Jeremy PinckertAs the Velvet Underground famously sang, “I’m Beginning to See the Light.” Or at least a recent project I was slated to Direct forced me to turn my eyes even more towards a light to which I’ve already been headed. Irregardless, now that I’ve had a look? I ain’t ever going back. Our client, Go RVing, needed a wide-range of marketing video content for Broadcast and Web use, and they brought me in to direct a 4-day shoot on Michigan’s West Coast. The first day was all interviews with actual users telling their unscripted stories to camera. The second and third days involved shooting eight different scenic broll situations with 20+ talent members in various camping situations. The fourth day was a practice in planning, logistics, and highway patrol as we shot seven vehicles on a large stretch of a US highway, through rolling vineyards and driving on wooded country roads.
We had a chance to interview 1st AD Alex Stein to discuss the anatomy of a call sheet. In this article (and video), Alex Stein will break down all the components that should be included in a standard call sheet for film and television.
In this business, it's important to make sure you're getting your name out there. ProductionHUB has helped play an important role in helping me do that as a cinematographer. The ability to bid on jobs has been a great feature, but even better is when a client approaches you because they’ve seen your profile and are interested in hiring you. Instead of a cold email, you’re now getting a direct lead that ProductionHUB did all the work for! Those kinds of leads are great because the client has already vetted your work and is interested in getting a quote from you. This can lead to lasting relationships with new directors, agencies, and production companies.
Exclusive Interview: DP Paul Cameron Talks The Commuter & What to Expect with Pirates of the Carribean: Dead Men Tell No Tales
If you loved the pilot of Westword, there is plenty more blockbuster magic to come from DP Paul Cameron. He talks in an exclusive interview with ProductionHUB, about the current film he's shooting, The Commuter, and provides a sneak peak into what to expect from the newest installament of the Pirates' franchise, Pirates of the Caribbean: Dead Men Tell No Tales.
by Jessica NinModerator:Randy Thornton, CEO & President of Warner/Chappell Production Music Speakers: * John Houlihan: Music Supervisor, “Training Day,” “Austin Powers,” “Vegas”; VP, Guild of Music Supervisors * Jeff Lusk Music Supervisor and Sound Designer, Warner/Chappell Production Music * Alexandra Patsavas Chop Shop, Music Supervisor, “Grey’s Anatomy,” “Mad Men,” “The Carrie Diaries” * Edwina Travis-Chin Music Director, APM Music Session Description:So many successful films and television shows feature memorable music that strikes the perfect balance between what is seen on the screen and what is felt by the viewer. From haunting ballads to hard-driving rock and roll, much of this is accomplished through a mix of both production music and original scores. Leading music supervisors know how to work with both. In this panel of industry executives and working music supervisors, learn how the pros determine the best approach to achieving the desired mood for a film. Produced in partnership with the Production Music Association (PMA) and the Guild of Music Supervisors.
By 2018, nearly a million minutes of video content will cross the internet every second. Additional insights from the Cisco VNI Benchmark Report indicate IP video traffic will be 79 percent of all consumer internet traffic in 2018. According to a recent study by AOL Platforms, YouTube converts more customers than any other social platform. the volume of video creation and consumption will only continue to grow significantly over the years, which implies the video production industry will be quite busy.