Sentences with phrase «photography and film production»

His primary course of study was photography and film production.

Not exact matches

In the second, director of photography Declan Quinn and production designer Stephanie Carroll (10:30) discuss the look of the film and how they worked to achieve a common goal.

Written and directed by Peter Berg; director of photography, David Hennings; edited by Dan Lebental; music by Stewart Copeland; production designer, Dina Lipton; produced by Michael Schiffer, Diane Nabatoff and Cindy Cowan; executive producers, Ted Field, Scott Kroopf, Michael Helfant and Christian Slater; released by Polygram Filmed Entertainment.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

Directed by Marcus Nispel; screenplay by Laeta Kalogridis, based on the film by Nils Gaup; director of photography, Daniel Pearl; edited by Jay Friedkin and Glen Scantlebury; edited by Jonathan Elias; production designer, Greg Blair; produced by Mike Medavoy, Arnold Messer and Nispel; released by 20th Century Fox.

The behind - the - scenes team includes multiple Oscar ® - nominated director of photography Emmanuel Lubezki («Children of Men,» «The New World»); production designer Andy Nicholson (art director «Alice in Wonderland»); editors Alfonso Cuarón and Mark Sanger (VFX editor «Children of Men»); and costume designer Jany Temime (the «Harry Potter» films).

Though the film has had production problems as its original directors, Phil Lord and Christopher Miller, exited during principal photography due to «creative differences» with Lucasfilm.

As Jess said when she dropped her verdict in Cannes, «It's an offbeat, fun and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music and photography, and by the cherishable performances of the leads.»

The creative constraints assigned to the directors — each required to shoot her film as a continuous shot, and given one day apiece for principal photography — sometimes serve Waru's amazing production narrative more than the tales at hand.

Extras: Audio Commentary with director Mick Jackson, moderated by film writer Kier - La Janisse and Severin Films» David Gregory; «Audition For the Apocalypse»: Interview with actress Karen Meagher; «Shooting the Annihilation»: Interview with director of photography Andrew Dunn; «Destruction Designer»: Interview with production designer Christopher Robilliard; interview with film writer Stephen Thrower; US trailer.

«Bassaler's doc covers The Misfits and Capa with great aplomb: the film is nicely divided between still and moving images, propelled by interviews with photographers and others involved with the great productions that were documented... For lovers of great visual art, whether in film or photography» — Marc Glassman, POV Magazine

So one of the first things I did is I got the director of photography, the production designer, the visual effects supervisor — we rented a big IMAX screen and projected these films all in one day and watched as many of them as we could to immerse ourselves in the detail of it, the feeling of it.

It should be noted that additional photography after principal photography wraps is not at all unusual (especially for Blumhouse productions, according to Bloody - Disgusting), as most films go through this process and it should not be cause for worry.

Drinking Buddies is somewhat of a crossover from micro-indie films into a larger budget film for Joe Swanberg; it contains a well - known cast (Olivia Wilde, Jake Johnson, Anna Kendrick) and much higher production values (having a dedicated director of photography, etc.) than his previous 14 films.

PARAMOUNT PICTURES and SKYDANCE Present A SCOTT RUDIN / DNA FILMS Production NATALIE PORTMAN «ANNIHILATION» JENNIFER JASON LEIGH GINA RODRIGUEZ TESSA THOMPSON TUVA NOVOTNY and OSCAR ISAAC Costume Designer SAMMY SHELDON DIFFER Music by BEN SALISBURY and GEOFF BARROW Visual Effects Supervisor ANDREW WHITEHURST Edited by BARNEY PILLING Production Designer MARK DIGBY Director of Photography ROB HARDY BSC Executive Producers DAVID ELLISON DANA GOLDBERG DON GRANGER JO BURN Produced by SCOTT RUDIN, p.g.a. ANDREW MACDONALD, p.g.a. ALLON REICH, p.g.a. ELI BUSH, p.g.a. Based on the Novel by JEFF VANDERMEER Written for the Screen and Directed by ALEX GARLAND SOUNDTRACK ALBUM AVAILABLE ON LAKESHORE RECORDS / INVADA RECORDS AnnihilationMovie.com © 2018 Paramount Pictures.

The new Director?s Cut includes a production diary of the film (with optional commentary by Director of Photography Steven Poster), a story - board to screen featurette, the Director's cut theatrical trailer, They Made Me Do It Too, The Cult of Donnie Darko and the # 1 Fan: A Darkomentary.

The film reunites Eastwood with several of his longtime collaborators, who most recently worked with the director on the worldwide hit «American Sniper»: director of photography Tom Stern and production designer James J. Murakami, who were both Oscar - nominated for their work on «The Changeling»; costume designer Deborah Hopper; and editor Blu Murray.

Haneke, with the help of director of photography Darius Khondji (Se7en, Panic Room) and production designer Kevin Thompson (Michael Clayton, Igby Goes Down), makes excellent use of white hues and natural lighting (everything in this film seems to be WHITE!)

In dramatizing Mathison's script, Spielberg and his usual army of key collaborators — led by Janusz Kaminski (director of photography), Rick Carter (production design), Michael Kahn (film editing), and John Williams (original musical score)-- have fashioned a movie for children that looks at home in modern cinemas while retaining an «old - fashioned» pacing and temperament.

The team that is required for executive film making must have an executive producer, a line producer, a writer, a director, a producer, a production coordinator, a script supervisor, a set designer, a director of photography and a camera operator among others.

The disc's primary making - of is «The Alien Agenda: A Filmmaker's Log» (34:19, HD), which includes a wealth of behind - the - scenes footage and interviews with Sharlto Copley, Blomkamp, producer Peter Jackson, co-writer Terri Tatchell, Jason Cope, director of photography Trent Opaloch, Vanessa Haywood, Mandla Gaduka, David James, special effects supervisor Max Poolman, lead set decorator Guy Potgieter, art director Mike Berg, art director Emelia Weavind, production designer Philip Ivey, sound design & alien vocals Dave Whitehead, supervising sound editor Brent Burge, and film editor Julian Clarke.

This is a terrific, in - depth guide to the film: the behind - the - scenes footage is revealing, and we get interesting comments from Vaughn, co-composer Henry Jackman, Aaron Johnson, Garrett M. Brown, Lyndsy Fonseca, Evan Peters, Christopher Mintz - Plasse, Clark Duke, production designer Russell de Rozario, Mark Strong, screenwriter / co-producer Jane Goldman, Chloë Grace Moretz, director of photography Ben Davis, Jason Flemyng, Kick - Ass co - creator / writer Mark Millar, production sound mixer Simon «Purple» Hayes, Kofi Natei, co-composer John Murphy, Kick - Ass co - creator / artist John S. Romita, Jr., producer Tarquin Pack, and 2nd unit DP / Steadicam operator Peter Wignall.

It features comments from Blomkamp, producer Peter Jackson, co-writer Terri Tatchell, director of photography Trent Opalach, special effects supervisor Max Poolman, lead set decorator Gary Potgieter, art directors Emelia Weavind and Mike Berg, production designer Philip Ivey, sound designer Dave Whitehead, supervising sound editor Brent Burge, film editor Julian Clarke, and actors Sharlto Copley, Jason Cope, Vanessa Haywood, Mandla Gaduka, and David James.

It's an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.

The behind - the - scenes creative team included director of photography Henry Braham («The Golden Compass»), Oscar - winning production designer Stuart Craig («Dangerous Liaisons,» «The English Patient,» the «Harry Potter» films), editor Mark Day («Harry Potter and the Deathly Hallows, Parts 1 & 2»), and Oscar - nominated costume designer Ruth Myers («Emma,» «Unknown»).

Although Marvel films have a uniformly cookie - cutter vibe, Coogler persuaded executives to let him bring some familiar faces, including «Fruitvale Station» director of photography Rachel Morrison, «Creed» production designer Hannah Beachler and his longtime editor Michael Shawver.

As Jess said when she dropped her verdict in Cannes back in 2013, «It's an offbeat, fun and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music and photography, and by the cherishable performances of the leads.»

The country's vibrant colors and life are affectionately captured by director of photography Seamus McGarvey (whose stunning cinematography alone makes the film worthy of a cinema release), with the work of production designer Johnny Breedt and art director Vivienne Gray further giving the place and community a character and pulse of its own: warm and inviting, often funny and friendly, but also not without real danger lurking on the fringes and beneath the surface.

This richly illustrated publication covers a wide range of artistic production — including paintings, drawings, books, sculptures, film, photography, sound poetry, atonal music and non-narrative dance — to draw a cross-media portrait of these watershed years.

From the late 1950s to the late 1960s the word «Pop» described any example of art, film, photography and architectural design that engaged with the new realities of mass production and the mass media.

The research project aims to investigate the heritage of documentary practices in contemporary art in relation to the history of film, documentary photography, television and video art, as well as to situate these contemporary documentary practices within current cultural production.

Pop artists appropriated the aesthetics of contemporary advertising, made use of popular means of production and expression, such as photography, film, or comics, and they lifted them to the status of contemplative objects, while at the same time scornfullyparodying the clichés of so - called high art.

American artist Andy Warhol (1928 — 87) is perhaps best known for his Pop inspired paintings but started as a graphic artist before moving towards more «instant» methods of production such as photography, film and screenprintng.

Spanning a decade of artistic production including installation, print, photography and film, the exhibition follows Baudelaire's sustained attempts to find a form that accommodates the catastrophic complexity of contemporary life, interweaving fiction with considerations on fear, the media and the power of words and images.

For the production of their films they combine different techniques such as photography, drawing, sculpture, dance and performance.

Chelsea, Upper East Side and Downtown galleries will showcase American realism, art for a ballet production, geometric abstraction, figurative abstraction, and film and photography dealing with identity across two cultures, giving New Yorkers a wide range of work from modern and contemporary artists to choose from.

Engaging with a variety of media, her production ranges from photography and film, to installation, performance, writing and sound.

Carrie Mae Weems LIVE: Past Tense / Future Perfect In conjunction with Carrie Mae Weems: Three Decades of Photography and Video, on view at the museum through May 14, join Carrie Mae Weems as she hosts an all - star cast on April 25 — 27 for a weekend of programs focusing on contemporary cultural production in the areas of dance, film, literature, music, theater, and visual art.

With a focus on artists working predominantly in film, video, photography and installations, Campagne Première organizes thematic exhibitions that question modes of representation and address the conditions of the artwork «s production.

The exhibition features a rich cross-section of works across several mediums — opening with displays of pioneering non-objective paintings, prints, and drawings from the years leading up to and immediately following the Revolution, followed by a suite of galleries featuring photography, film, graphic design, and utilitarian objects, a transition that reflects the shift of avant - garde production in the 1920s.