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The Hand Prop Room Website has inventory listed w/images. Student discounts available. www.hpr.com/ 5700 Venice Boulevard Los Angeles, CA 90019-5096 (323) 931-1534 Business Hours:
Light + Mathematics is the work of Peter Szewczyk. Since the start of his film career at George Lucas' famed Skywalker Ranch, Peter Szewczyk has had a front row seat to the crafting of Hollywood blockbusters by the modern masters of cinema. Sitting through what Szewczyk calls “a decade of dailies” with the likes of James Cameron, Andrew Stanton, Andrew Adamson, and George Lucas, he studied intensely, each director's approach to storytelling. Szewczyk contributed as an artist, animator, designer, and technician to the legendary franchises of Harry Potter, Shrek, Star Wars and Ice Age, but it was not until his time on James Cameron's “Avatar” that Szewczyk felt he was ready to leave the trenches of digital production, for the challenges of directing.
I have my Canon 550D and I am over the dish, the spoon, the cow and the moon. The stills capabilities of this camera have blown me away to the point where I have almost forgotten about the video component. Well, not quite forgotten In this week that I have had my HDSLR, there have been a few questions that needed to be answered in order for the camera to be best used in taking good video. These are basically the first lessons I have learned.
1) Yellow Panel Carry Handle made by Stanley ref # 93-301 2) A 90* bracket (70 x 70 x 55 x2.5mm) 3) Pool swimming noodle, (can be substituted by padding foam or cotton rag) 4) Scrap piece of wood 5) a 1/4" camera screw. For shoulder piece I use a Yellow Panel Carry Handle made by Stanley. Ref; Stanley 93-301 14-Inch Yellow Panel Carry Handle. It can be bought at ACE ,Home Depot and many other stores.
Script creation is a task that requires lots of time, work and planning. In fact, planning is probably the heart and soul of the production. The proper planning and legwork must be accomplished or even the best script will fall flat on its face.
Even if you are the producer, the shooter, the editor, the distributor and marketing director, taking the time to generate a video treatment will help you present a clearer idea to others and help you stay on track when the time comes to make your production happen. Focus! Focus! That ring on the camera isn't the only tool important for generating a sharp image. Your video treatment can be the focus ring for your project, keeping you and your production crew, as well as your potential backers, all clearly aware of what you're trying to say and how you want to say it. The more clarity you can give your treatment, the more easily you can keep the interest of those who will help you make your vision happen.
Y ou've tried all the tech basics of getting that elusive "film look:" shooting 24 fps, adding grain, using an `S' curve gamma, even adding a tiny bit of dust and scratches. But your project still lacks that certain "something," that "big-budget feature" look. It's easy to focus on the "film" part of film making, but a lot of the differences between the look of video vs. film are not in the actual media. They're in the techniques and tools used to acquire the content. When telling your story, the goal isn't to make something that looks like "a film," but to completely involve the audience in a different world.
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T he first time the brokerage firm Cantor Fitzgerald realized it could make money by turning armchair speculation about weekly movie grosses into an actual futures-trading market was nine years ago. The company had just bought Hollywood Stock Exchange ( HSX.com ), an Internet game that had, in the late nineties, become a kind of rotisserie league for movie buffs who fancied themselves experts in predicting weekend hits and flops. HSX was (and is) simple Sign up, and you’re promptly given $2 million in fake money to bet on any movie’s performance in its first four weeks in U.S. theaters.