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THE BUSINESS OF SNOW by Darcey E Crownshaw
Even today, when filming on real snow locations, the logistics of getting equipment, cast and crew safely on and off the snowbound sets adds a whole new dimension to the challenges faced by any...
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Film Production Technique …. from a talk given by Alfred Hitchcock in 1948
Alfred Hitchcock 1899-1980 The filming of each picture is a problem in itself. The solution to such a problem is an individual thing, not the application of a mass solution to all problems. Film...
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Saul Bass 1920-1966 – The Master of Film Title & Poster Design
Saul Bass Saul Bass was not only one of the great graphic designers of the mid-20th century but the undisputed master of film title design thanks to his collaborations with Alfred Hitchcock, Otto...
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The Stuntman’s World by Jim Dowdall
Fom the perspective of one who has been ‘at it’ for rather a long time and should know better by now! Jim Dowdall When I came into the industry in the 1960′s as an armourer with Bapty’s, my first film...
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THE EARLY DAYS OF NEWSREELS by Kenneth Gordon – from an 1950s lecture in London.
Kenneth Gordon 1890-1969 Ken Gordon 1890-1969 was employed on lighting duties in 1904 by Films Limited at their show at Hengler’s Circus in London and was soon working as a projectionist both there and...
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THE ART OF COSTUME DESIGN by Lindy Hemming
From a 2010 article in Network Nine News © Lindy Hemming with her Oscar for ‘Topsy Turvy’ I was born in a remote country village in Wales in 1948, the eldest of 5 children. I was always bilingual,...
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CREATIVITY, ORIGINALITY AND A TOUCH OF HUMOR …. LONELY ESKIMO PRODUCTIONS!
Lonely Eskimo Productions, based in New Orleans, is a student-run company that aims to show people the artistic, visually enticing and emotional side of filmmaking. The Lonely Eskimo Team L.E.P was...
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RAY HARRYHAUSEN, Visual Effects Wizard 1920 – 2013
Ray Harryhausen with his VES Lifetime Achievement Award I met Ray Harryhausen several times over the past few years. Apart from being hugely talented, he was very generous with his time, especially...
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THE MAGIC OF MATTES AND MINIATURES by Leigh Took
On a location driven film when is it a waterfall and when is it a working model? When is a backdrop real and when is it a matte? This is the magic created by the skill and craft of the model and...
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I WANT TO BE A CINEMATOGRAPHER…..OR A DIRECTOR! by Robin Vidgeon BSC
Robin Vidgeon in 1988 with Raul Julia on ‘The Penitant’ in Mexico To be at the sharp end of making a feature film, ie. in the camera department, or as a Director, or any of the other departments...
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CARPENTER TO CONSTRUCTION MANAGER by Dominic Ackland-Snow
Dominic Ackland-Snow How do I see the role of Construction Manager? The Production Designer has to conceptualise the viewpoint of the script and the Director – and the CM’s job is turning that concept...
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International Cinematographers Guild – President’s Letter, May 2013
Steven Poster ASC – ICG President Into the Abbey Last month I had the good fortune to attend the annual exposition sponsored by the British Society of Cinematographers (BSC), which took place on a...
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The State of the Global VFX Industry 2013
Visual Effects Society issues White Paper: The State of the Global VFX Industry 2013. A Comprehensive Analysis of Business Drivers and Best Practices Industry Experts Cite Improved Business Management...
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CARE FOR WHAT YOU SHOW by Peter J Knight
Peter J Knight The most important thing is the way that a film is screened for the audience. It is, after all, the very last link in a production chain which will have taken a huge amount of money...
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BEING A JUNIOR COLOURIST … by Aurora Shannon
I found going from Assistant to Junior Colourist very difficult as there was no set path. The leap from assisting on big films to grading is huge, at least 15 years of experience sat between myself and...
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‘Do You Have What it Takes to Survive in Feature Film Production?’
You might think that this title for my series of e-booklets sounds a bit harsh – but if you’re already trying to find a job in production you’ll know that it’s very competitive and you have to have...
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HOW I GOT INTO SOUND POST-PRODUCTION … by Ben Simpson
My response to the question: “Oh that’s Sound Post-Production … what got you into that then?” – by Ben Simpson It wasn’t so much that I was incapable of doing the work at A Level, it was more that I...
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Open Source for Film and TV Production … by Daniel Mulligan, M.D, Rogue...
Editor’s Note for those who are not familiar with Open-source software. It is computer software with its source code made available, under licence, in which the copyright holder provides the rights to...
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GIVE THEM A BREAK! … an Editor’s Thought
Wendy Laybourn – Editor From time to time I’m asked to speak to young people about the realities of working in production. Although many won’t make it into the business, there are always the few...
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Working in Costume – not for the faint hearted! … by Iona Smith Oliver
Iona Smith Oliver After completing a degree in Fine Art at University of the West of England and in the same year losing my Father to cancer, I worked – any job would do, I just wanted to work and keep...
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