By Jaq Greenspon
This e-book was once enjoyable to learn. Written in an upbeat style essentially for youth considering operating within the motion picture in production-related jobs, the booklet describes those jobs in an instantaneous and breezy approach, taking care to outline the phrases I famous within the identify of this evaluation (and many others). So the publication can also be attention-grabbing to somebody who has a common curiosity in videos, motion picture making, and the motion picture business.
I used to be particularly inspired concerning the task descriptions within the "special results" region as the recommendations themselves also are defined, including to my wisdom of them.
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Extra info for Careers for Film Buffs & Other Hollywood Types
Champaign, IL: Stipes Publishing Company. Millerson, Gerald. Techniques of Lighting for Television and Film. Burlington, MA: Elsevier Science/Harcourt. Morgan, David. Knowing the Score. New York: Harper Collins. Sonnenschein, Davis. Sound Design. Studio City, CA: Michael Wiese Productions. Thomas, Tony. Film Score. Burbank, CA: Riverwood Press. 46 • CAREERS FOR FILM BUFFS Wheeler, Leslie J. Principles of Cinematography. New York: Macmillan. com CHAPTER FOUR Grip and Electric A Light Touch W hen you’re watching a film, most of the departments can be seen or their presence felt just in the pictures—the way the sets look or the way the actors appear.
To work on land, they took jobs in local theaters where their talents could be put to use. The reason it’s bad luck to whistle in a theater is because the people who ran the rails (ropes that raised and lowered the scenery) got their training by manipulating the riggings on sailing ships. The way they communicated was by whistling. Certain whistles meant certain things, and when they went to work in the theater, they also used whistles, this time to know which piece of scenery to raise or lower.
The camera is the first AC’s baby. Second Assistant Camera Operator The second assistant camera operator, otherwise known as the second AC, gets the grunt work of keeping track of how much film stock is left, what kind it is, and in what configurations. Film comes in different speeds for shooting under different conditions, such as day or night. It also comes in two roll sizes. A fourhundred-foot roll will shoot for a little more than four minutes, and a thousand-foot roll gives you just about ten.