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  1. Job description Skill: advertising , content creation , creative production , strong creative portfolio; Exp: 5-10 years; A creative project manager on the Amazon Prime Video Creative Team is a business client partner and creative project manager, as well as a creative contributor to multiple projects including design, digital marketing and video production services. He would be a trusted advisor, collaborator and facilitator; he would help build businesses and lead projects with the Amazon Leadership Principles in mind. He would have strong knowledge of design workflow processes, video edit workflow process, video productions, photoshoot and talent handling skill sets. He would champion the creative process by owning the end-to-end management of creative deliverables from Project inception to Ideation, by effective utilization of our talents and expertise. He would be result-oriented with solid experience in creative project planning, managing budgets, developing and managing resources, working closely with both internal team and third party agencies. He would provide ownership and accountability to everything you touch, and see it through beyond completion - measuring a project's success past delivery. He would support local implementation of global campaigns, leveraging global materials to deploy local marketing experiences and creative extensions. He would plan and manage internal and external local integrated production communications and workflows, ensuring effective exchange of campaign information and assets delivery. He would manage localization, production process and creative approvals of advertising materials (for engagement/traffic). He would have Strong organization and communication skills, as well as the ability to provide project leadership to a team of creative contributors. He needs to manage multiple projects within tight timelines with proven leadership and strong analytical skills. Demonstrated ability to work independently yet collaboratively in a fast-paced, high-volume, start-up environment.BASIC QUALIFICATIONSBasic qualifications A passion for movies and shows! 5+ years of experience in advertising, content creation or creative production, with a strong creative portfolio. MBA degree would be preferred but not mandatory. However a great people management skill is important. Proven track record in creative and production experience with a major studio or television network, advertising/marketing agency or production company. Proven success in leading multiple projects/assignments and execution across all forms of media, video and digital and mass media. Must manage time well to meet tight deadlines and able to work under own initiative. An ability to handle multiple concurrent projects. Strong drive for execution and delivering results. An ambitious self-starter with excellent follow-through skills to develop ideas independently and thrive in fast-paced environment is crucial. Demonstrated ability and willingness to roll up sleeves and execute to get the job done. Understanding of web/mobile information architecture and ability to quickly learn all site components Graphic and video design An outstanding portfolio of work in graphic and video design. Portfolio of work can include images, interactive/engaging images, short films, commercials, promos. Working knowledge of Photoshop, Illustrator, Flash, Fireworks, Dreamweaver, InDesign, and Final CutPro. Ability to work constructively with technology teams. Customer Empathy The ability to empathize with target customers; their different values, priorities, perceptions, tolerances and experiences. Creative Thinking Able to transform creative ideas into practical reality. Can look at existing situations and problems and come up with creative solutions. Managing relationships and Team Working Able to build and maintain effective working relationships with a range of people. Works cooperatively with others to be part of a team. Good communication of plans and ideas, in written and verbal format, and relationship building with internal stakeholders and external agencies; exceptional attention to detail Team player with the confidence to take the lead and influence other departments Relentless customer focus and obsession For consideration Must submit an online portfolio or design samples demonstrating strong visual design and video direction skills and experience relevant to the role. Preferred samples include advertising, branding, and product/service promotional design work. PREFERRED QUALIFICATIONS 5+ years of experience in advertising, content creation or creative production, with a strong creative portfolio. MBA degree would be preferred but not mandatory. However a great people management skill is important.
  2. Ashish Mittal is the CEO & Surabhi Khetan Mittal is a Creative Director at Skywork Studios. Skywork is into live action stereoscopic 3D and digital film production services. Tell us something about 3D Stereoscopy In essence, Stereoscopy is an illusion of depth that is created when “two” same pictures are taken from different angles and previewed together. The human brain fuses the disparity between these 2 pictures to produce 3D depth. Filmmaker’s biggest challenge and goal is to replicate the real world depth that we all see as humans and to provide a “being there” experience for the cinema audience. There are mainly two ways that Stereoscopic 3D films are made. One way is to shoot a film in 3D “natively”, where framing, lighting and production design of the shots are viewed and composed “live on set”. This method of shooting native 3D is preferred over 2D to 3D conversion as it provides better understanding of depth in a shot, which allows better designing of depth graph for an immersive story telling. The other method is to shoot a movie like a regular (2D) film and use 2D to 3D conversion to add depth. However, conversion doesn’t really give the same natural quality of depth as native shooting. Although some films like Titanic, Avengers, etc. have achieved a very good level of 2D to 3D depth conversion, but by paying huge amounts of 15 to 20 million US dollars. 3D Stereoscopy and its place in narrative cinema? Like sound & color even depth has a visual vocabulary that alters narrative cinema. For example Martin Scorsese’s film Hugo had an opening sequence largely without dialogue. The establishing shot is of snow falling over Paris, and then moving through the railway station, then up to the face of Hugo peering through the number 4 on a huge clock. With the use of Stereo 3D one is able to absorb and experience the space and it’s characters very naturally and realistically. In another scene as (Sacha Baron Cohen) a station inspector slowly leans forward to warn Hugo, you can see from Hugo’s POV the station inspector invading his space in an intimidating manner, which has a deliberately exaggerated depth to enhance the emotion of the scene. Even the films like “Gravity”, “The Great Gatsby”, Pina, Transformers, X-Men, etc. have enhanced the immersive nature of the film using 3D as a tool to provide the audience a true experience of the character’s space and emotions. Each location in a 3D film also behaves like a character; since, 3D if used properly becomes a window to reality. 3D is not a gimmick but a storytelling device that adds emotions and intensity. It should be an immersive experience. Tell us something about your company. Skywork has evolved into “live - action Stereoscopic 3D Producers ”, as we believe that 3D films are the future of cinema. Since, as humans we see in 3 dimensions, and films should be made as we see in real life. Our Team After being trained in LA as professional Stereographers & 3D technicians, Ashish & Surabhi came to India with a vision to reform the industry. We believe that with the right technology and skilled crew, we could setup a benchmark for high concept & quality stereoscopic 3D films being made in India. Our company Skywork Studios is a specialist in stereoscopic 3D filmmaking and provides ‘end-to-end solutions’. To achieve their goals of becoming stereoscopic cinematic professionals Ashish & Surabhi have worked in positions ranging from 3D rig technicians to convergence pullers, 3D Engineer, Stereographer and Stereo 3D Post Supervisors. We have trained our 3D team in India to be fast and efficient using our fully automated 3D technology. Our team understands that a 3D shoot requires precision & speed to get the optimum stereoscopic quality. We ensure that shooting in 3D is an enjoyable creative experience and not a battle with technology. Our 3D Setup Our 3D setup consists of a fully automated 3D Rig known as the “TS5” by 3ality, Red Dragons cameras and Ultra Primes lenses. The fully built up TS5 rig setup weighs about 25kgs, the rig can be mounted on a Jimmy Jib, techno crane, can be used handheld or on a steadicam. Shooting speed on our setup is faster than any other 3D technology in the world. Many recent biggest budget 3D films in Hollywood were shot using the similar setup TS5 and Red Epics/Dragons, i.e. Transformers 4, Exodus: Gods and Kings, The Hobbit (all parts), The Great Gatsby, Jack and the Giant Slayer, The Amazing Spiderman, Step Up: Revolution, etc. Being the first choice of the best filmmakers in the world, this setup is the best 3D setup available worldwide and now also in India. How is shooting 3D different from shooting regular cinema? Shooting for a Stereoscopic 3D film changes how one chooses to compose a shot. The choice of placing the cameras, selecting the lenses or framing, lighting for better depth, are all the criteria to be consulted with the skilled Stereographers by the DOP/Director for achieving good 3D results. Since, the technology has now evolved and by using the state of the art 3D rigs like the TS-5, now filmmakers can shoot a 3D film at the speed of a 2D film. Overall shooting a 3D film requires more planning, as the size and weight of the camera is double that of a regular digital camera. However, with the right pre-planning, we can now shoot a 3D film as if shooting a regular film. What is the post and edit workflow? Post Production for 3D Transcoding Once the footage is backed up onto hard disks, we then transcode the Red (R3D) files to MXF or MOV files for both left and right eyes. Editing Editing also slightly changes for a 3D film; since, to perceive depth in a shot, audience needs to be able to register it properly. Therefore, slow editing is suggested for a 3D film. Even an action film like Transformers 4 has a much slower edit than its predecessors. The editor sets up his timeline to edit like a regular (2D) film, but previews it in 3D. DI Conforming After the edit is locked, the Coformist in a DI Lab then ensures the offline edit matches the online files. Colour Matching Once the Conforming is done, the colourist then colour corrects the Left eye camera to match the right eye. Some of the high end grading platforms like Mistika, Baselight, Pablo, Da Vinci, etc. do this is an automatic process. Depth Balancing After the colour matching is done, the Post Supervising – Stereographer along with colourist corrects the depth jumps that occur between shots. This makes the film feel very smooth between each cut. Grading Once the Depth Balancing is done the colourist then grades the right eye camera footage like a regular film and applies the same grade to the colour matched left eye camera footage. Depending on the budget of the film Pablo, Baselight, DaVinci or Mistika, are used for grading purposes. The more expensive Grading softwares usually provide built in tools that save a lot of colourists time. What happens to TV and other releases of cinema shot in 3D (Online, DVD, in-flight etc.)? There is an increase in demand for 3D televisions. A lot of buyers are enthusiastically purchasing blue rays & DVDs for watching movies that are made in 3D. But we are in a Catch 22 situation as there is lack of 3D content because there is a lack of 3D preview screens available. There is also a huge audience world over that is looking for better comfort solutions for 3D entertainment. With introduction of auto - stereoscopic 3D TV, commercially referred to as Auto 3D TV, (watching 3D without 3D glasses) the market for 3D TV is only going to grow. We believe the market will be flooded with 3D TV channels and like Color TV and 3D TV will eventually become the norm. Similarly once more and more Auto 3D screen preview formats are introduced we will see more 3D everywhere, example on flights, Internet, etc. What are the common misconceptions/perceptions about 3D? 1) Doesn’t fit the genre. It’s a common cliché that 3D works well for genres like horror & superhero films only. In fact the first 3D movie ever previewed in the theatres was called the Power of love, a love story. A Classic, a drama like The Great Gatsby was lately remade in 3D, Hugo, Life of Pi all had great drama & adventure in them. Hollywood’s biggest Filmmakers like James Cameron, Ridley Scott, Martin Scorsese, Peter Jackson; all swear by 3D and say that hereafter they would want all their movies to be made in 3D. 2) 3D is extremely time consuming. Since most of the big budget international movies are now being shot with this 3D technology. Filmmakers around the globe have realized that shooting a 3D film with big stars is not a problem anymore. For instance, Pizza 3D was shot in just 40 days and Rudhramadevi 3D was shot in 180 days. Both the films had different requirements. 3D is not time consuming but filmmakers need to be better planned and prepared to adapt to it. Our skilled 3D crew & right technology does provide the same speed and ease as that of regular 2D filming. 3) Shooting 3D is extremely expensive or one needs to make a big budget movie only? We did a small budget UTV & Bejoy Nambiar film Pizza in 2014 with a budget of Rs. 4.5 crores. We also recently wrapped shooting “Rudhramadevi ” in Hyderabad which is the first Indian 3D historical feature film with an approximate budget of Rs. 60 crores. Rudhramadevi has a very good team with Award Winning Costume Designer Neeta Lulla, to National award winning Art Director Totha Tharani and is being directed by an award winning director Gunasekhar Karri. Ilaiyaraaja, Anushka Shetty, Prakash Raj, Allu Arjun, Baba Sehgal, are all part of this big film production. So making a 3D film is possible for small budgets as well as multi starrer films now, as the technology has already evolved. Our films have been very well perceived in 3D and it is really a myth that only a small or a big budget can be made in 3D. Every movie has its limitation and we believe in finding a way to make it work, as our primary intent is to create the best 3D content within the required budget. Reasons you think 3D should succeed? As the time progresses and technology evolves to the glasses free 3D projection, just like color, 3D too will become a standard. We believe that 3D is the future of cinema; since, our films should look like the way we see the world as humans making the experience that much more real. Progressive filmmakers have embraced 3D and have seen exemplary results at the box office. At the box office Hollywood and Bollywood have both cashed in on 3D films. Globally over 80% of the world’s nearly 135,000 cinema screens are now digital. There's been a large increase of 3D screen installments in theaters. For films like Guardians of the Galaxy, The Great Gatsby, X-Men: Days of Future Past, The Amazing Spiderman, etc. 3D screens accounted for approximately 40% of the total revenue for the films. Films like Captain America 2 were even fighting with Maleficent and Edge of Tomorrow for the 3D screens. In India there are about 500-600 screens available for a 3D film as of today. This number should increase to about 800 screens by next year. So this allows a film to have exclusivity in many 3D screens due to lack of enough 3D films being made in India. This allows filmmakers to tap a much higher potential for 3D films compared to regular 2D Film, which are competing for screens with multiple films releasing every week. This post has been promoted to an article
  3. Pushkar Fair dates a November 9 to November 17th 2013. About Pushkar & Pushkar Fair The holy city of Pushkar is located in the Ajmer district of Rajasthan, India. Pushkar is one of the five sacred dhams or pilgrimage sites for devout Hindus. One of the oldest cities of India. Pushkar lies on the shore of the sacred Pushkar Lake. The sacred waters of the Pushkar lake are considered at par with the waters of the Mansarovar lake situated on way to Mount Kailash the abode of Shiva. The date of actual origin of Pushkar is unknown, but legend associates Lord Brahma with its creation. Pushkar is also referred to as "Tirtha- Guru" - the Guru of pilgrimage sites or “Tirtha-Raj “ the king of all pilgrimage sites. Pushkar clearly qualifies for this title as it meets all criteria of the 4 categories of Hindu pilgrimages, “ The Deva –Tirtha”, “Asura-Tirtha”, “Arsha Tirtha” and “Manushya-Tirtha” It is said that Brahma performed penance here for 60,000 years Pushkar has many temples. Most of the temples are not very old, since many were destroyed during Muslim conquests of the area. Many of these destroyed temples were re-built. The most famous among all is the Brahma Temple. Today Just a few temples dedicated to Lord Brahma exist . Temples dedicated to Brahma are also located, Bithoor in Uttar Pradesh , Asotra near Balotra in Barmer district of Rajasthan, Besakih in Bali and Prambanan in Indonesia. The Pushkar lake has 52 ghats where pilgrims descend to the lake to bathe in the sacred waters. Every year Pushkar plays host to the Pushkar Fair which is now well known world over for its Religious fervour ,festivities and the camel , Cattle fair that takes place along the sidelines of this annual gathering. The Pushkar fair occurs every year in the Hindu month of kartik (October /November). This year the Pushkar Fair or the Pushkar Mela will be held between 09th - 17th November 2013. The first Sikh Guru, Guru Nanak is believed to have bathed in the sacred waters of the Pushkar lake, the Tenth Sikh Guru, Guru Gobind Singh also visited Pushkar in 1705 and a ghat “ Guru Gobind Singh Ghat” is named after him. Details Here.
  4. Do we have a 'Russian Arm' in India? Or an equivalent, without having to mount a Jib on a truck back? Whats the best way to shoot vehicles with the equivalent shot designs you get from a 'Russian Arm'?
  5. Team


    From the album: Choksi Bungalow

    Choksi Bungalow is an old almost heritage bungalow in Santa Cruz West, Mumbai. It has beautiful vintage furniture, chequered floor, and the right feeling for a 1950s or earlier villa in India. choksi, bungalow, santa, cruz, west, mumbai,
  6. Manhattan Short Film Festival (MSFF) has called in all Indian filmmakers to send in their short film entries to compete at the global film festival. This year, Festival Director Anil Sadarangani has collaborated with Mumbai-based PR, to bring MANHATTAN SHORT to India in the last week of September 2013. All the films in India languages, other than English must have subtitles. Deadline for entries is July 31, 2013. Established in New York City in 1998, this is the fourth consecutive year that Manhattan Short comes to India. Interested filmmakers must send their films directly to New York.
  7. The International Film Institute (IFI), Thrissur, will conduct a Monsoon Film Festival in August. The institute will also organise a 10-day-long short-film workshop. In a press meet here on Monday, short-film director Sandeep Pampally said that the workshop would be the first of its kind producing many short-films and helping candidates promote their films. The camp will be conducted on the IFI campus in 10 categories associated with the film field. Ten delegates can participate in each section. Around 20 short-films will be made during the workshop and will be sent to international film festivals in the country. The films will also be broadcast on television. Technical facilities and equipment needed for film production, food and accommodation will be provided free of cost to the participants. Film scripts of 30, 15 and 10-minute duration have been invited for the workshop. Entries have been invited for short-films, documentaries, cartoons, campus films, children’s films, advertisement films and home cinema. Short-film competition will be in 10 minutes, 30 minutes and 60-minutes categories. Awards will be given for the best short film, director, actor, actress, editor, music director, singer male and female and make-up. Admission to the workshop will be given on a first-come-first-served basis. Entries for the film festival should be received on or before July 31. For details and registration, contact: 0480-2802020, 9142202011, 9142202033, www.internationalfilminstitute.in, email: internationalfilminstitute@gmail.com.
  8. TRAVELLING CINEMA : ENTERTAINMENT FOR RURAL India For about six decades now, traveling tent cinema companies accompany Jatras- annual religious fairs which begin in rural Maharashtra, western India after the crop gathering season ends in October. Traveling with these fairs, not very far from the cinema capital of India- Mumbai, the tent talkies hawk an eclectic mix of films- regional language films, Bollywood blockbusters and even dubbed Hollywood flicks as they travel across the rural landscape. HIGHLY RECOMMENDED FOR LOVERS OF STORYTELLING AND DESIGN Amit and SHIRLEY are bringing THEIR work on the traveling tent cinemas to Delhi again. Their installation opens at Max Mueller Bhavan on Friday, 15th February 2013 till 25 the Februray. SHIRLEY HAS GONE BACK BUT Amit is still there for tete a tete. Theartists: Photographer Amit Madheshiya and researcher and filmmaker Shirley Abraham have been working in collaboration on the traveling tentcinemas of Maharashtra since 2008. This work is supported by India Foundationfor the Arts, Bangalore, Goethe Institut New Delhi and the Cluster ofExcellence ‘Asia Europe in a Global Context’, Heidelberg. They narrate thestory of the cinemas through varied research and artistic interventions- stillimages, conversations, collages, participatory observation and archivalresearch, and is currently shaping into a film narrative. They have presented the project throughlectures, workshops and exhibitions across festivals and universities includingthe Berwick Film and Media Arts Festival, Hong Kong Art Fair, Asian CulturalTyphoon in Tokyo, University of Colorado and Centre for Asian Studies inBoulder, LUISS University Rome, Asian Modernities and Traditions Programat the University of Leiden, Maharashtra Conference in Bratislava, GlobalTheatre Histories Program at Munich University, Erasmus University Rotterdam,Cluster of Excellence ‘Asia Europe in a Global Context’ in Heidelberg,Hyderaba d University, Dakshinachitra in Chennai, SNDT University in Pune,MargHumanities in Delhi, Film Studies Department at Jadavpur University,Hyderaba d University, Jawaharlal Nehru University in Delhi and at IndiaFoundation for the Arts in Bangalore. They also conducted a workshop ontraveling media in Asia and Europe at the University of Trier, and recently, onethnographic photography at the south Asia Institut in Heidelberg. The work has been part of solo and groupshows worldwide. For his work, Amit won the World Press Photo, WorldPhotography Award and the Humanity Photo Award.
  9. RESPONSIBILITIES OF THE CINEMATOGRAPHER I Preproduction A. Conceptual research and Design * Discuss all aspects of script and director's approach to picture in preliminary talks with director * Analyze script as whole * Analyze story structure * Analyze characters * Research period, events, general subject and appropriate design elements * Devise style, visualize approach * Continue talks with director on new ideas * Come to agreement with director * Discuss and come to agreement with production designer * Discuss and come to agreement with technical adviser. B. Practical Research and Design. * Ascertain or find out budget requirements * Scout and approve locations * Plot sun position for locations * Check local weather * Check tide tables near ocean * Review, discuss and approve set plans * Review, discuss and approve spotting plans for stages * Review and approve props, picture cars, airplanes, boats, horse-drawn vehicles, mock-ups and miniatures C. Technical Research and Design. * Visit laboratory to calibrate, customize and evaluate exposure system for any combination of electronic or chemical image capture, and establish developing, printing, set timing and transfer protocols * Visit equipment vendors * Explore new equipment * Learn how new equipment works * Invent (or cause to be invented) special equipment or techniques for show * Standardize and create effects bible for show * Help create and approve any storyboards * Design (or cause to be designed) and approve any built-in or practical lighting fixture * Design lighting-plot plan and rigging for stages and locations with gaffer and key grip D. Quality Control * Choose and approve crew, film stock, lab, equipment, second-unit and visual-effects crews * Supervise manufacture and testing of new modified equipment * Visit sets under construction * Approve wild walls, ceiling pieces and any moving set pieces * Check lighting-fixture crew * Walk locations and stages with all departments to discuss requirements * Approve set colors and textures * Approve costume colors and textures * Approve makeup and hair * Generate (or cause to be generated) and approve equipment lists for camera, electric and grip * Check dailies screening rooms for correct standards E. Implementation * Cast stand-ins * Train crew to use any new equipment * Walk locations and stages with director and device shooting plan * Make list of special equipment for production manager and indicate number of days required * Work with assistant director on shooting schedule (order and days required for each scene) * Estimate and order film stock (type, size and quantity) * Generate (or cause to be generated) and approve rigging and shooting manpower and man-days * Assist other departments in getting required equipment, manpower and tests * Drop by all departments and visit department heads at least twice a day to answer any questions * Mediate any problems between departments * Check loading of production trucks or cargo containers for location or international shipping * Visit cast run-throughs and rehearsals * Advise and back up director on any problems * Help production problems F. Testing * Shoot tests for style * Shoot tests for lab * Shoot test for lighting of principal actors * Shoot tests for camera and lenses * Shoot tests for wardrobe and makeup * Shoot tests for any special effects processes, unusual rigs props or methods II Shooting A. Planning * Check and approve all call sheets and shooting order of the day's work B. Blocking * Watch rehearsal of scene to be shot * Device shot list with director (coverage) * Choose lens and composition; show to director for approval * Make sure composition and movement fulfill scene task * Work out mechanical problems with camera, dolly and crane grips * Set any camera-movement cues * Place stand-ins and rehearse, fine-tune * Ensure proper coverage of scene for editor * Work with assistant director on background action C. Lighting * Design lighting to show set/location to best advantage relative to story, style and dramatic content * Light each actor to reinforce and reveal character * Make sure mood and tone of light help to tell story * Design light for minimum reset time between setups * Utilize painter for control of highlights, shadows, aging, dusting-down of sets and props * Set and match light value, volume, color and contrast of each setup (exposure) * Set any lights cues (dimmers, spot lights, color changes and any preprogramming) D. Preparation * Work out any sound problems * Work out any problems with other departments * Check, set and approve all stunts with stunt coordinator * Set any additional cameras required for stunts * Double-check safety with all concerned * Show shot to director to make any final changes * Get actors in for final mechanical rehearsal; solve any outstanding problems E. Photography * Photograph scene * Approve or correct take * Check parameters and reset for next take * Shoot any plates * Shoot any video playback material * Move to next step F. Administrative * Define first setup in morning and after lunch * Make sure that stills are taken of scene * See that "making of" and/or EPK crews get needed footage * Make sure script supervisor has any special camera or lighting notes * Check film raw stock inventory * Try to shoot up short ends * Check that camera logbook is being kept up to date * Complete day's work * Discuss first setup for the next day * Ensure that camera, electrical and grip crews get all copies of equipment rental or purchase invoices and approve before accountants pay vendors * Take care of any future or ongoing production at end of day * Check for return of all unused equipment G. Quality Control * Call in for lab report * View previous day's work in projected dailies with director, producer, editor and camera crew * Discuss and approve dailies * Consult with makeup, wardrobe, production designer and assistant director about dailies * View, discuss, correct or approve second-unit or effects dailies * Order reprints if necessary H. Training * Teach beginning actors movie technique (hitting marks, size of frame, lenses, etc.) * Train camera crew for next job up the ladder I. Contingency * If director is disabled, finish day's shooting for him or her III. Postproduction A. Additional Photography * Discuss and be aware of delivery dates for all postproduction * Photograph or approve any additional scenes, inserts, special effect or second-unit footage B. Timing (Color and Density) * Time and approve trailer for theaters and TV * Approve all optical and digital effects compositions * Time the picture * Retime until correct C. Quality Control * Approve final answer print * Show to director for OK * Approve interpositive (IP) * Approve internegatives (IN) * Approve release prints * Approve show prints from original negative * Approve all blowups or reductions D. Telecine/Color Correction * Supervise and approve film or digital original transfer to electronic or film media (Hi-Def, NTSC, PAL, Scam masters, digital intermediates, archival masters, etc.) * Supervise and approve all transfers to and from digital intermediates * Supervise and approve all letterbox, pan and scan or reformatting of film * Supervise and approve tape-to-tape color correction and VHS, DVD, digital projection media, etc. * Show electronic transfers to director for OK E. Publicity * Do any publicity (newspaper, magazine, Internet, radio, TV, DVD commentary etc.) F. Restoration/Archival * Be available for any future reissue, archival reprint or electronic transfer of film. This list of duties of the cinematographer was published in January 2003 by the American Cinematographer magazine.
  10. Hello all! We started DesiShoots with the aim to bring together the community of creative, independent film makers in India. Share your knowledge, experiences, worries, questions, films and reels etc. Hoping to see a lot of reels soon! - Admin
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