Film On Video

Film on Video: A Practical Guide to Making Video Look like Film is an accessible guide to making video captured on a camcorder, DSLR camera, smartphone, action camera or cinema camera look like it was shot on motion-picture celluloid film. Chapter by chapter, Jonathan Kemp introduces the reader to a key characteristic of celluloid film, explains the historical and practical reasons why it exists, before providing a simplified method for best replicating that characteristic on a digital camera. The book includes various practical exercises throughout that are designed to underline the takeaway principles of each chapter and features case studies on specific cameras including the Sony NX5 Camcorder, Canon 5D Mk IV, Canon 4000D, iPhone X, GoPro Hero 6, Blackmagic URSA Mini Pro 4.6K and Canon C200. Ideal for students studying film and media production and filmmaking newcomers who want to get up to speed quickly, this is an indispensable guide to how the numerous settings on a digital camera can be used to create footage that more closely resembles the film 'look'.

Packed with step by step information, hints and tips, this book provides all the basic information needed to production manage a film or video from beginning to end - from idea to delivery. Production Management for Film and Video gives all the basic information needed to production manage a film or video from beginning to end - from idea to delivery. Aspiring young film producers, programme makers and students of film or video production will find this an essential source of information, as indeed will anybody wishing to improve their knowledge and skills in the field. One is guided from the script or proposal, right through the various stages of production management to include: · script breakdown · crossplotting · scheduling · budgeting · preparation · the shoot · editing and post-production · delivery Now in its third edition, Production Management for Film and Video has been further revised to include: · information on health and safety requirements · the need to be aware of computer generated imagery · the effect this kind of programme making has on schedules and budgets. Different kinds of management for different productions are also covered - from features through to documentaries - and advice is offered on how to run a production more effectively. Examples, taken from actual productions, demonstrate the kind of documentation needed to develop, run and control a production. Emphasis is placed on the basic principles of good management that apply to all the different kinds of film that can be produced. Richard Gates is a freelance producer/production manager and has been involved in over 40 productions of different kinds. He also lectures extensively on production and production management techniques.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such. Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

In Film and Video Intermediality, Janna Houwen innovatively rewrites the concept of medium specificity in order to answer the questions "what is meant by video?†? and "what is meant by film?†? How are these two media (to be) understood? How can film and video be defined as distinct, specific media? In this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Mapping the specificity of film and video is indispensable in analyzing and understanding the many contemporary intermedial objects in which film and video are mixed or combined.

Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.

The past 40 years of technological innovation have significantly altered the materials of production and revolutionized the possibilities for experiment and exhibition. Not since the invention of film has there been such a critical period of major change in the imaging technologies accessible to artists. Bringing together key artists in film, video, and digital media, the anthology of Experimental Film and Video revisits the divergent philosophical and critical discourses of the 1970s and repositions these debates relative to contemporary practice. Forty artists have contributed images, and 25 artists reflect on the diverse critical agendas, contexts, and communities that have affected their practice across the period from the late 1960s to date. Along with an introduction by Jackie Hatfield and forewords by Sean Cubitt and Al Rees, this illustrated anthology includes interviews and recent essays by filmmakers, video artists, and pioneers of interactive cinema. Experimental Film and Video opens up the conceptual avenues for future practice and related critical writing.

Black women film and video makers have been producing shorts, documentaries and films since the early part of this century. Unfortunately, not only has their work been overlooked by distributors, but critical reviews have been few and far between. Conceived to redress that omission, Black Women Film and Video Artistsis the first comprehensive history and analysis of this genre. Gathered here are noted scholars and critics, as well as the film/video makers themselves who offer insight into the work of underexplored artists. The discussions range from pioneering to contemporary film makers and include artists such as Madeline Anderson, Monica Freeman, Jacqueline Shearer, Kathleen Collins, Julie Dash, Camille Billops, Zeinabu irene Davis, and Michelle Parkerson, among others. Contributors include: Jacqueline Bobo, Carmen Coustaut, Gloria J. Gibson, C.A. Griffith, Monique Guillory, Carol Munday Lawrence, O. Funmilayo Makarah, Ntongela Maselila, Jacqueline Shearer, P. Jane Splawn.

Virtually everyone working in dance today uses electronic media technology. Envisioning Dance on Film and Video chronicles this 100-year history and gives readers new insight on how dance creatively exploits the art and craft of film and video. In fifty-three essays, choreographers, filmmakers, critics and collaborating artists explore all aspects of the process of rendering a three-dimensional art form in two-dimensional electronic media. Many of these essays are illustrated by ninety-three photographs and a two-hour DVD (40 video excerpts). A project of UCLA – Center for Intercultural Performance, made possible through The Pew Charitable Trusts (www.wac.ucla.edu/cip).