tag:blogger.com,1999:blog-9223649994640793752024-03-12T19:22:47.084-07:00DirectorA lot of movies are about life, mine are like a slice of cake.
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-922364999464079375.post-56768036288013148982013-11-06T16:36:00.001-08:002013-11-06T16:53:25.062-08:00TEH TARIK<p>Teh tarik merupakan menu kegemaran rakyat Malaysia untuk sarapan... dikatakan dapat memberi kesegaran untuk memulakan hari baru.. hasil temuramah bersama beberapa pengemar teh tarik di warung kak senah...</p>
<p><b>Pak abu</b>: saya memang hari hari datang minum teh tarik kat warung senah ni.. rasa dia memang ummm..<br>
.. Tambah tambah kalau senah yang buatkan... memang tak mampu nak bercakap... <br></p>
<p><b>SALEH</b><b>: </b>saya selalu datang awal untuk punch card kerja dan lepas tu saya turun minum teh tarik kat warung senah nih.. baru semangat nak mula kerja nanti...<b> </b></p>
<p><b>AH seng</b>: pagi pagi saya olang mesti mau minum itu teh tarik dulu maaa... baru ada ong... </p>
<p><b>Maniam</b>: saya minum susu juga.. teh tarik tada minum.. tapi buat juga ada...</p>
<p>Begitulah serba sedikit temubual bersama pengunjung warung kak senah dengan topik TEH TARIK.... </p>
<p>1MALAYSIA...... <br><br></p>
<div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidEWlHdn2FH8KmxM4kVvxBQj_FvBSpHAfXpqzuHflQq14ayzicxZbbPtKudhyFcVzBqtupVzrras9VSvGvTkaSNT0KHHlSJHmMDhgAfn-_c-Ri06PeM2S7Xi93kE8AAzSh09QxdGQhmaSE/s1600/C360_2013-11-07-08-28-40-434.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> <img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidEWlHdn2FH8KmxM4kVvxBQj_FvBSpHAfXpqzuHflQq14ayzicxZbbPtKudhyFcVzBqtupVzrras9VSvGvTkaSNT0KHHlSJHmMDhgAfn-_c-Ri06PeM2S7Xi93kE8AAzSh09QxdGQhmaSE/s640/C360_2013-11-07-08-28-40-434.jpg"> </a> </div>Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-89118259169070650452013-11-05T03:11:00.001-08:002013-11-05T03:14:39.117-08:00Gila la weh....<p>Huhu mmg gila la... at the end.. aku dapat kerja @ tvt... yg akan berpengkalan di North point kuala lumpur... </p>
<p>Itu jer aku nak cakap... k bye....</p>
<p>#akudapatkerja, #bbc, #sukahatiakula</p>
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-17494452787815774182013-10-26T21:32:00.001-07:002013-10-26T21:32:26.466-07:00Kenapa hati kita sakit sangat...<p>Wahaha... tajuk tah apa2 jer... sebenarnya aku tgh sakit hati.. apa yang korang rasa bila korang dah ada awek.. punya la dia setia.. tapi last2 dia boleh pulak suka kat orang lain... dan dia cakap.. suka dan sayang adalah dua benda yang berbeza... tapi bagi aku.. dulu aku mula2 suka ja kat dia.. lama lama jadi sayang... so aku tengah sakit hati ni.. jangan sampai aku gigit microphone nih.. xpasal pasal kena marah ngan bos..... mood - saket hatiii... </p>
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comSeksyen 16, Seksyen 163.057751 101.49924tag:blogger.com,1999:blog-922364999464079375.post-13187885062873762382013-10-26T00:28:00.001-07:002013-10-26T00:28:27.194-07:00Dulu ku director sekarang ku keja karaoke<p>Walawei.... disebabkan tak ada kerja so aku dengan nekad sepenuh hati dan jiwa yg macho nih mencari kerja lain.. wahaha last2 dapatla keja kat karaoke nih..... ole ole seksyen 18 shah alam.... syiok owwhhh.... gaji tak banyak macam dulu... tapi alhamdulillah.. sekurang kurangnya sewa rumah tak da la tertunggak... ok nanti aku upload gambar gambar yang aku snap masa kerja kat sini... skang dengan gembira hati aku update post smbil dok atas sofa hitam kat tempat kerja... ooiii jgn dok ngulor sangat bleh tak... hahaha.... ok lah... hope aku dpt cari kerja yang lebih baik... demi masa depan anak anak.... </p>
<div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZpyVtJixXgboQa-Fo9dBQPoihBOn62NZhRm1PAJBnGb_2wCohCorDC8upKCtlApKjPPJWL18zJKRvpcevTD4gpbN4bsAQA9zO4g5bKulR8DAS24vS2YiW7yO_fr5ga989fxJ-XRMmHFL/s1600/C360_2013-10-18-16-13-05-266.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> <img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZpyVtJixXgboQa-Fo9dBQPoihBOn62NZhRm1PAJBnGb_2wCohCorDC8upKCtlApKjPPJWL18zJKRvpcevTD4gpbN4bsAQA9zO4g5bKulR8DAS24vS2YiW7yO_fr5ga989fxJ-XRMmHFL/s640/C360_2013-10-18-16-13-05-266.jpg"> </a> </div>Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-78620980501219075252013-06-10T23:16:00.000-07:002013-06-10T23:18:37.093-07:00The Pursuit Of Happiness <div class="separator" style="clear: both; text-align: center;">
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THE PURSUIT OF HAPPINESS</div>
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Once homeless, Cristopher Gardner ( Smith ) turns his life around and becomes the head of his own brokerage firm. 2006 columbia Pictures Industries, Inc. and GH one LLC. All Right Reserved. An awesome inspiring film.</div>
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<span style="color: blue; font-size: large;"><a href="http://www.bmetv.net/video/1740/the-pursuit-of-happiness-full-movie" target="_blank"><b>CONTINUE TO WATCH FULL MOVIE : THE PURSUIT OF HAPPINESS</b></a></span></div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com12tag:blogger.com,1999:blog-922364999464079375.post-72833955324196622532013-05-15T07:26:00.000-07:002013-05-15T07:26:41.437-07:00FILM FESTIVAL or FESTIVAL OF FILM ?<br />
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<span style="font-size: small;"><span style="background-color: rgba(255, 255, 255, 0);">Cannes: Film Festival or Festival of Films?</span></span></h1>
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<span style="background-color: rgba(255, 255, 255, 0);">When people with bloodshot eyes meet in one place to screen films, it is the custom to call this gathering a film festival.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">Contrary to popular belief, it was not the Lumière brothers who invented the cinematograph, but the mathematician Archimedes (287-212 BC).</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">According to Archimedes, indeed, any film thrown into a festival receives, by the notoriety given to it by this presentation, a thrust equal to:</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">The film considered is thus attributed a new surge of glory for its director, revenue for the producer and a ranking in the Guinness book of records for the work itself.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">What are the characteristics purporting to justify the denomination "festival film"?</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">Unlike the works of great directors, a festival film is designed for the sole purpose of being selected for one of these international festivals, of which the <a href="http://www.festival-cannes.com/en.html" style="text-decoration: none;" target="_hplink">Cannes Film Festival</a> is the nec plus ultra, if we are to believe Plato of Athens ( 427-348 BC). The same Plato whose myth of the cave allowed him to claim the invention of the film theater.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">The contenders for the title of festival film long believed it was enough to imagine out-of-the- ordinary roles to cause programmers, critics, jurors and spectators of this demented concoction to gape in admiration: between fallen sister and addicted sister, who will therefore prevail, <a href="http://www.bettedavis.com/" style="text-decoration: none;" target="_hplink">Bette Davis</a> or <a href="http://www.imdb.com/name/nm0001076/" style="text-decoration: none;" target="_hplink">Joan Crawford</a>, with her contortions and blood and thunder posturing, gesticulations and vehemence? Everything that ostentation -- and even worse, pretention -- can do to be noticed and admired.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">That can be the stance of the twisted hunchback, with whom all post-<a href="http://www.imdb.com/name/nm0001452/" style="text-decoration: none;" target="_hplink">Charles Laughton</a> <em>Quasimodo</em> can identify; it can be a rape in a subway corridor, simulated or not, with the unfortunate <a href="http://www.imdb.com/name/nm0000899/" style="text-decoration: none;" target="_hplink">Monica Bellucci</a>writhing beneath the vile attacker; it could be <a href="http://www.imdb.com/name/nm0000197/" style="text-decoration: none;" target="_hplink">Jack Nicholson</a> when he raises his eyebrows the way a flamenco dancer raises her skirt; or finally it could be an articulated shark, whose jerking fins show it has fangs, Oh President Spielberg!</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">In short, everything that serves to magnify the cardinal virtue of the festival film, starting with exaggeration. Excess in all its forms.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">At other times, the festival film quiets down, and the subterfuge takes a different form. Now it's all internalized expressions; sobriety is of the essence, minimalism on show. <a href="http://www.imdb.com/name/nm0000658/" style="text-decoration: none;" target="_hplink">Meryl Streep</a>'s imperceptibly quivering nostril in <em>The Bridges of Madison County</em> just as the peak of emotion is meant to be reached, and the top prize is pre-empted.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">Admittedly, a tear sometimes formed in the corner of the selection committee's dry eyes, but we always ended up by finding somebody insensitive enough to shout "Oh no! Not for me..." And the film was not chosen, because it is so true one person's opinion expressed categorically can tip the balance in favor of disfavor.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">The snobbery of the "art film" appeared around 1910-1920, then of the "avant-garde film", and so on, from one genre to the next, but by the time we realized they existed, the trend was over, demonstrating once again with Euclid (300 BC) that the sum of prime numbers does continue to infinity, i.e.:</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">This is why, after so many attempts, the concept of the festival film fell by the wayside and we returned to the practice of making, quite simply, the best films possible.</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">Which was already not so bad after all.</span></div>
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<em style="background-color: rgba(255, 255, 255, 0);">Translated and cross-posted from the original French on <a href="http://www.huffingtonpost.fr/gilles-jacob/festival-de-cannes_b_3252457.html?utm_hp_ref=fr-culture" style="text-decoration: none;" target="_hplink">Le Huffington Post</a>.</em></div>
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<b style="background-color: rgba(255, 255, 255, 0);">Follow Gilles Jacob on Twitter: <a href="http://www.twitter.com/jajacobbi" style="text-decoration: none;">www.twitter.com/jajacobbi</a></b></div>
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<a href="" style="color: #20007f;" title="Follow @HuffPostEnt on Twitter"> </a></div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com34tag:blogger.com,1999:blog-922364999464079375.post-76046891657071528072013-04-30T08:00:00.000-07:002013-04-30T08:03:46.410-07:0025 Grip & Lighting Terms that Sound Sexual & What They Actually Mean+http://howtofilmschool.com/25-grip-lighting-terms-that-sound-sexual-what-they-really-mean/<br />
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<img alt="Sex Party E1362691463335" class="hover_fade_js" height="350" src="http://howtofilmschool.com/wp-content/themes/Insignia/cache/Sex-Party-e1362691463335-600x350.jpg" style="opacity: 1;" title="25 Grip & Lighting Terms that Sound Sexual & What They Actually Mean" width="600" /> <br />
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A couple of weeks ago <i><a href="http://www.theblackandblue.com/" target="_blank">Evan Luzi of the Black and Blue</a></i> wrote a fantastic post entitled <i><a href="http://www.theblackandblue.com/2013/02/14/25-filmmaking-sex-acts/" target="_blank">25 Filmmaking Terms that Sound Like Sex Acts (and What They Actually Mean)</a></i>,
I thoroughly enjoyed the post and even added “ubangi” to the comments
section of his site. Definitely give it a read, and check out some of
his other posts, he is doing great stuff.
<br />
That post made me realize that there are hundreds of sexual sounding
terms we use every day on set and many of them just so happen to belong
to grip & lighting! Although these are mostly terms we use In
Canada, I’ll give it a shot…<br />
<h3>
<span style="color: #ff6600;">Here are 25 Grip & Lighting Terms that Sound Sexual & What They Really Mean</span></h3>
1.<b> Butt plug</b> – This is a 2k to 750 adapter. Not all
stands have the combo ability, so a butt plug is used to “plug” the 2k
hole of a stand and make it a 750 spigot. Why would you use this? Well,
sometimes you just need a much beefier stand for a small fixture, like
when it needs to go really high and no other stand will cut it.<br />
2.<b> Lollypop</b> – This piece of grip gear allows you to
add a heavy duty, larger puck + 2k hole to any 2k stand. Great for when
you’re putting grip arms on 2k stands or even for butterfly frames.<br />
3.<b> Rimmer</b> – A “rimmer” or “rim light” is back light used to separate the subject from the background.<br />
4.<b> Whip</b> – This is another term for an extension cord or cable run. “Run a whip out to me, please”<br />
5.<b> U-bangi</b> – This is used to off set a camera from a
dolly. The term “u-bangi” refers to the lip ornament used by the Sara
tribe of Africa. Not the most politically correct term, lets try to call
it an offset from now on.<br />
6.<b> Spoon</b> – We all know the saying “Spooning leads to
forking”, well this type of spoon leads to a lower camera position. The
spoon (A.K.A. Enterprise) allows you to get the camera just that little
bit lower when on a dolly in low mode.<br />
7.<b> Jelly Roll</b> – The Canadian term for a rolled up sound blanket (A.K.A. Sound Blanket Burrito) <a href="http://howtofilmschool.com/how-to-roll-up-sound-blankets/" target="_blank" title="Grip Tips: How to Roll Up Sound Blankets">Learn how to roll up your own.</a><br />
8.<b> Head Cable (A.K.A. Header)</b> – This is the cable that allows you to attach HMI’s or KinoFlos to their ballast.<br />
9.<b> F**k the Truck</b> – This term is used to remind the
electrics that the male end always runs toward the power source. Anyone
that has ever run 500 feet of sea-way backwards knows how important
having such a term in the back of your mind is.<br />
10.<b> Pads, Wedges & Pancakes - </b>Used to level
dolly track. It never quite sat right with me when the Key Grip asked me
to spread around some pads and wedges for him.<br />
11.<b> Fill it in</b> – Usually called out by the Key Grip or Dolly Grip once they are done leveling and want someone to fill in the empty spaces.<br />
12.<b> S**t Coil – </b>Sounds like something that could be
done in some weird German film, this term is often used for a poorly
wrapped piece of cable. “Who made all the s**t coils?”<br />
13.<b> Ball Buster – </b>Another term for a poorly wrapped
piece of cable. This one refers to sea-way when it hasn’t been wrapped
the correct size causing too much of one end to be left hanging lose.
When picked up the lose end can easily hit you in the…balls…I’ve also
heard this term used for heavier, 35lb sandbags.<br />
14.<b> Open Holes </b>- This refers to live, open holes in seaway or power towers. Open holes are dangerous and hearing “No open holes!” <a href="http://howtofilmschool.com/walkie-talkie-etiquette/" target="_blank" title="HowToFilmSchool’s Film Set Walkie Talkie Etiquette Guide">over the walkie talkie</a> is nothing new. Jason Winget adds the phrase “Get your fingers out of the holes!”<br />
15.<b> Horse C**k</b> - A slang term for thick cable, like 2OT or 4OT. No one wants to run cable at 6am, especially not horse c**k.<br />
16.<b> Pig Tail</b> – A Short piece of cable with a
U-Ground on one end and a bulb socket on the other. Usually used with
china balls or for getting light bulbs in odd places.<br />
17.<b> Mombo Combo</b> – The official name for a very large
collapsible stand. Mombo Combos are extremely useful, but often times a
bit of a head ache to deal with. Almost sounds like a weird courtship
dance you would do with a partner.<br />
18.<b> Best Boy Grip</b> – “Best Boy” in general sounds a little gross, but there is something about “best boy grip” that just doesn’t sit right.<br />
19.<b> Undersling</b> – This grip & lighting term
basically refers to using a stand or piece of gear in an out of the
ordinary way, like setting grip arms upside down.<br />
20.<b> Low Mode</b> – Another dolly term, this means using a
dolly in its lowest configuration. I do beleive there are other
situations where you can use the term. Feel free to share in the
comments.<br />
21.<b> Drop the Skirt – </b>A “skirt” refers to when you
use duvetyne to control sources like china balls. The light actually
ends up looking like it is wearing a skirt. A skirt can also just be
duvetyne hung horizontally across a set to keep light off of one of the
walls.<br />
22.<b> Top Stick – </b>This term refers to when you have
reached the maximum height of your stand. So, the next time a spark
calls out “That’s the top of my stick” try not to giggle.<b><br />
</b><br />
23.<b> Hand Squeezer</b> – A dimmer.<br />
24.<b> Beaver Board</b> – This is an American term for a 750 base plate (A.K.A. Baby nail on plate / Baby pin) drilled into a pad / pancake.<br />
<h3>
<span style="color: #ff6600;">Added by our Readers</span></h3>
25. <b>DP</b> – Not exactly grip and lighting, but I think
this one should definitely be on the list. We all know “DP” stands for
“Director of Photography”, but how many times have you had a non film
friend snicker when they hear you say “I DP’d that” – <b>This one comes from local Toronto Director / Cinematographer <a href="https://twitter.com/CabotMc" target="_blank">Cabot McNenly</a>. Have a look at his very beautiful reel <a href="http://vimeo.com/4785034" target="_blank">HERE</a>. </b><br />
26. <b>Juice is lose</b> – This is what is often announced over the radio when the BB or electrician turns the generator online. Added by Jason Winget<br />
27. <b>Hot Box</b> – Hot box is how we refer to any
distribution box that is energized.. And it can get naughty… “Thats a
hot box, stick it in there”. Added by Jason Winget.<br />
<br />
<b>Well, what do you think? Are some of these wrong or do you think you can come up with a better definition?</b><br />
<b>Do you have a couple of gross sounding terms up your sleeve?
Do you work with a crew that coins your own terms? Please share in the
comments section below!</b>Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com5tag:blogger.com,1999:blog-922364999464079375.post-50644457914613334322013-04-14T05:01:00.000-07:002013-04-14T05:01:25.892-07:00Ten ‘90s movies that don’t need a remake<b style="background-color: white; font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 19px;">'Naked Lunch' (1991)</b><br style="background-color: white; font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 19px;" /><span style="background-color: white; font-family: arial, helvetica, clean, sans-serif; font-size: 14px; line-height: 19px;">The Grand High Master of turning "unfilmable" books into unforgettable movies (remember "Crash"? Of course you do!), David Cronenberg took William S. Burroughs' stream-of-consciousness junkie memoir and turned it into both a twisted alt-world biopic and cinematic love letter to its one-of-a-kind author. Peter Weller (never better) is Bill Lee, an exterminator-writer who descends into Interzone, where he talks to typewriters that turn into giant bugs and dabbles in shadowy conspiracies involving a race of creatures known as Mugwumps. Or something. It's awesome, and it's all Cronenberg, all the time. No one else could touch this madness with a ten-foot pole.</span><br />
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<img src="http://www.jonathanrosenbaum.com/wp-content/uploads/2012/08/naked-lunch-mugwamp-weller.gif" /><img height="200" src="http://weekdaymatinee.files.wordpress.com/2011/08/nakedmar08.jpg" width="137" /><br />
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<b>'Unforgiven' (1992)</b><br />
If "Naked Lunch" is all Cronenberg, then this classic revenge drama and morality play disguised as a Western is pure Clint Eastwood. Probably Eastwood's best work as a director, "Unforgiven" tells the dark tale of retired gunslinger William Munny, "a known thief and murderer, a man of notoriously vicious and intemperate disposition," who must come to terms with the fact that he's better at killin' than farmin' when he's called upon to avenge the disfigurement of a prostitute at the hands of thugs. "Unforgiven" could in many ways be seen as "the last Western," and it's only fitting that it's our most famous movie cowboy who made it.<br />
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<b>'Groundhog Day' (1993)</b><br />
One of the darkest dark comedies ever made and one of cinema's most classic existential conundrums, "Groundhog Day" could've easily become stuck in its own dramatic loop were it not given so much forward momentum by the singular talents of star Bill Murray. Sure, you could probably tell this oddly sinister holiday fable today, but it just wouldn't be the same without Murray as Phil Connors, a weatherman whose life becomes a Beckett play when he finds himself forced to repeat the same day over and over in the same nowheresville Pennsylvania town until he "gets it right." Murray seems more in his element here than in his other one-man showcase/holiday movie, "Scrooged," and director Harold Ramis has never been more confident.<br />
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<b>'Pulp Fiction' (1994)</b></div>
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Don't even think about it. Ever. For almost everyone on the planet, the '90s were Quentin Tarantino. And if there is an A-Number-One '90s Tarantino movie, it's probably "Pulp Fiction." Please, Hollywood, don't ever touch this. You'd see the smoke from the moon.</div>
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<b>'Clueless' (1995)</b><br />
Director Amy Heckerling's '90s-era Beverly Hills remix of Jane Austen's "Emma" was the alternative screening choice during the summer of '95 for those tired of being pummeled into submission by the season's big loud action offerings like "Die Hard With a Vengeance," "Batman Forever" and, uh, "Johnny Mnemonic." One of the decade's funniest comedies, "Clueless" just simply couldn't exist today without the very, very '90s kind of materialism -- and matchmaking methods -- embraced by our heroine, Cher Horowitz (Alicia Silverstone, who somewhat unfortunately would never give a better performance). You'd have to account for Facebook and Twitter and Texting and Instagram and all that crap if you were going to make this movie today, and really, who cares about that stuff?<br />
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<b>'Heat' (1995)</b><br />
Michael Mann's "Los Angeles crime saga" could've only been made by Michael Mann. His meticulous obsession with every single detail, from the weapons used during the game-changing heist sequence to the color of Tom Sizemore's socks, is what makes "Heat" one of the most authentic and satisfying action epics of all time. And "Heat" would be rendered barely half as effective if it didn't also serve as the much-hyped team-up of dramatic heavyweights Al Pacino and Robert De Niro, whose first on-screen meeting had them sizing each other up over a cup of coffee (and no doubt trading "The Godfather Part II" stories in-between takes). It was a collaboration that was only meant to happen once, as evidenced by the wretched "Righteous Kill," released 13 years later.<br />
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<b>'Showgirls' (1995) </b><br />
"Showgirls" already gave us everything -- who would dare ask it to give any more? Really, Paul Verhoeven's instant cult classic went from being one of the most reviled films in the history of cinema to one of the most brilliant (well, let's not go that far ... actually, why the hell not?) as we realized as the years went by that it kind of wants us to hate it. In fact, it dares us to hate it. In fact, isn't it kind of lovable how awful this big, gaudy, indulgent, vulgar schlockfest really is? Really, no drunken slumber party is complete without the Blu-ray of this thing, and no modern-day update could come close to delivering its forbidden sorta-pleasures.<br />
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<b>'The Usual Suspects' (1995)</b><br />
Really, what could a new version of Bryan Singer's classic noir mystery possibly contribute to the world? We would never, ever, under any circumstances need a reboot of the tale of notorious criminal kingpin Keyser Soze and the two-bit thieves who get involved in his secret dangerous world. Really, the only thing any filmmaker could possibly do with this is pull a Gus Van Sant and do a shot-for-shot remake, just to prove beyond the shadow of a doubt that, like Van Sant's "Psycho," there was absolutely no point whatsoever in engaging in such an endeavor. Actually, Soze himself might appreciate such a devious stunt.<br />
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<b>The Big Lebowski' (1998) </b><br />
There may be more than one Jeffrey Lebowski, but there is only one Dude. Abide, Hollywood.<br />
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<b>'Fight Club' (1999)</b><br />
If there was ever a classic of pre-millennial tension and '90s-era spiritual discontent, it's David Fincher's "Fight Club." It was the perfect movie with which to close not only the '90s but the entire 20th century as our unnamed Narrator (Edward Norton) literally beats the crap out of himself in basements whilst scheming to blow symbols of runaway consumerism (like, you know, credit card company highrises) to smithereens, all while hiding behind an alter ego who looks like Brad Pitt. Sure, "Fight Club" is still relevant today, but the 21st century should find its own angry anti-heroes, no?<br />
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-73196552785226556712013-04-13T11:18:00.000-07:002013-04-13T11:18:05.711-07:00Cinematic Storytelling : What is it<img height="264" src="http://cinemalanguagedotorg2.files.wordpress.com/2012/07/cl_postcard_front_final_11-22-10-32.jpg" width="640" /><br />
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For the past twenty years of film history, cinematic storytelling was the only way to convey story. As sync sound was not invented, movies like <i>The Great Train Robbery, Metropolis,</i> and<i> The Battleship Potemkin </i>had to use non-dialog techniques to carry character and plot. Titles cards were used when explanations were necessary, but always as a last resort.<br />
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Camera placement, lighting, composition, motion and editing were relied on as the primary storyteller. Cinematic tools, like camera, were not just used to record the scene. Instead, they were responsible for advancing plot and character. There was no dialog to default to.<br />
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After soaund came in 1926, dialog and voice-narration soon appeared in movies. These device, borrowed from novel and plays. Were literary in origin, and were floated on top of the moving picture. Many purist bemoaned the coming of sound, while others saw enhancement. In either case, both storytelling system were available to screenwriters and directors.<br />
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+Cinematic storytelling : Jennifer Van Sijil<br />
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<br />Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com0tag:blogger.com,1999:blog-922364999464079375.post-5747481539409669842013-04-11T12:51:00.000-07:002013-04-11T12:51:31.111-07:00ARGO ( FILM ) VS TRUE STORY<div>
+<a href="http://screenrant.com/argo-movie-facts-fiction-true-story-differences/">http://screenrant.com/argo-movie-facts-fiction-true-story-differences/</a></div>
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Ron Howard’s Oscar-winning A Beautiful Mind unfolds as a psycho-thriller, mental-illness melodrama, and touching romance (depending on the scene), but fits into a peg hole easier than the unpredictable story behind it. While watching Ben Affleck’s historical drama-thriller Argo, I had the feeling it was taking similar liberties so as to likewise create (as Screen Rant‘s Kofi Outlaw put in his review) “worthwhile genre entertainment (no more, no less).”</div>
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That hunch turned out to be correct, but it raises the question: Would a ‘facts-only’ version of Argo have made for better or weaker entertainment – not to mention more (or less) relevant cultural resonance? Well, that’s what we’re here to investigate.</div>
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Argo, like Beautiful Mind, plays out as a clever mix of genre formulas. The opening minutes feel lifted from a documentary about the 1970s Iranian Revolution; grainy photography from Rodrigo Prieto allows stock footage to blend seamlessly with the actual film. Affleck’s direction and Chris Terrio’s script allows the film to smoothly shift from white-knuckle thriller to CIA socio-political drama, Hollywood satire, and back to high-tension yarn during the third act. In order to reach the sweaty-palm climax, though, a fair amount of exaggeration takes place.</div>
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In David Haglund’s article for Slate, it’s pointed out that virtually all the obstacles Argo throws at Affleck’s CIA agent Tony Mendez and the six endangered American embassy escapees during the third act were, in fact, made up. The reason things went so much smoother in real-life? It turns out Canadian Ambassador Ken Taylor (played by Victor Garber) and a fellow embassy employee John Sheardown – who does not appear in the film – were more involved with the rescue effort than the movie suggests. The two not only helped scout out the Iran airport in advance, but also purchased the Americans’ tickets, coached them in having a Canadian accent, and were even responsible for setting the rescue plan in motion to begin with</div>
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However, at the end of the day, sticking closer to the facts might have resulted in an Argo movie that’s less accessible and watchable for your average moviegoer; though, on the hand, also one more thoughtful and even-handed than your average cinematic sermon from Hollywood. The path Affleck took played to his strengths as a storyteller, more so than a different strategy would have. Maybe somewhere down the road, as Affleck continues to gain confidence (not to mention, credibility) as a director, he will strive to break further away from convention than he has so far. That’s all the more feasible, assuming he continues to develop at the same pace as he has with his first three films.</div>
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com0tag:blogger.com,1999:blog-922364999464079375.post-34296700845397708142013-04-09T09:06:00.001-07:002013-04-09T09:07:47.778-07:00Hanyut ( FILM ) from +WIKIPEDIA<img height="234" src="http://www.thebestfilms.net/wp-content/uploads/2010/07/Hanyut-The-Movie.png" width="640" /><br />
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Based on Joseph Conrad's first novel, the movie tells the story of a Dutch trader, <b>Almayer</b>, struggling to survive in <a href="http://en.wikipedia.org/wiki/Malaysia" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Malaysia">Malaysia</a> at the turn of the 19th century. Almayer's dream of finding a mythical gold mountain is at odds with his plotting wife, colonial authorities, the political machinations of a local chief with Arab traders, and his daughter's love for a freedom-fighting Malay prince.</div>
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<span class="editsection" style="-webkit-user-select: none; float: right; font-size: 13px; font-weight: normal; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Hanyut_(film)&action=edit&section=2" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Edit section: Synopsis">edit</a>]</span><span class="mw-headline" id="Synopsis">Synopsis</span></h3>
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Almayer is a lone Dutch trader grubbing to survive in colonial Malaysia. He sends his 10-year-old daughter Nina to Singapore to be educated as a Westerner, much to the distress of her mother, Mem, a local woman of <a href="http://en.wikipedia.org/wiki/Betawi_people" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Betawi people">Betawi</a> origin. The couple stop speaking to each other as a result.</div>
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When Nina returns as a beautiful woman ten years later, she finds the family home and business in dire straits because of Almayer's obsession with finding gold in the mountains. Her return rekindles interest in the Almayer household, bringing in new business that allows Almayer to build a lavish new house in his compound.</div>
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Nina's presence attracts a number of suitors, including the nephew of a prominent Arab who asks for Nina’s hand in marriage. Almayer rejects the proposal, however, igniting an animosity between the traders that helps lead to Almayer's later downfall. Almayer guards Nina jealously as he sees her as an important part of his unrealistic dreams. He believes her beauty, combined with the gold he expects to unearth, will help him build a trading empire and fulfill his fantasy of a glorious future back in Europe, a world he has never seen.</div>
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A handsome Malay prince and trader named Dain Maroola enters the scene. Dain wants to buy <a href="http://en.wikipedia.org/wiki/Gunpowder" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Gunpowder">gunpowder</a> through Almayer. Almayer doesn’t question why the man wants explosives. Dain manipulates him with tales of the legendary gold mountain of which he claims to know the location.</div>
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As Almayer’s trading post prospers, he believes he is in reach of his dreams and readies boats and equipment for his gold-seeking expedition. In his fanaticism, he doesn’t notice Dain and Nina fall in love.</div>
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Mother Mem knows Almayer won't tolerate such a union. Given the deep animosity she feels toward her husband, she fuels and encourages the relationship while keeping Almayer in the dark.</div>
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Dain turns out to be a Malay freedom fighter who uses the purchased gunpowder to blow up a Dutch vessel at the mouth of the river. Now an outlaw, the British and Dutch military hunt along the river.</div>
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When Dain's men are attacked by colonial forces during a violent tropical storm, Dain is believed killed. Almayer fears he has lost his chances to find gold and goes on an alcohol-fueled binge. He doesn't know that Dain faked his own death and eloped with Nina. When he learns the truth from Mem, Almayer heads off in pursuit of the couple up river, determined that his daughter will not leave for a Malay.</div>
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When Almayer finds the couple, he's unable to convince his daughter to return. Heartbroken, he helps them escape and returns to his new house, which he burns down. Alienated and distraught, he is left with only his shattered dreams and the burned ruins of "Almayer's Folly".</div>
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<span class="editsection" style="-webkit-user-select: none; float: right; font-size: 13px; font-weight: normal; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Hanyut_(film)&action=edit&section=3" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Edit section: Director’s statement[3]">edit</a>]</span><span class="mw-headline" id="Director.E2.80.99s_statement.5B3.5D">Director’s statement<sup class="reference" id="cite_ref-AJ_3-0" style="font-weight: normal; line-height: 1em;"><a href="http://en.wikipedia.org/wiki/Hanyut_(film)#cite_note-AJ-3" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none; white-space: nowrap;">[3]</a></sup></span></h3>
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<i>Hanyut</i> is a story about a cosmopolitan society living and working together along a riverbank somewhere in Malaysia. It attracted many sea travelers seeking opportunity and rewards.<br />
It gives us a window into the Malay society in Malaysia in the late 19th century: A highly competitive mix of indigenous Malays, tribal aborigines, Europeans, Arabs, Indians and Chinese living and working together.<br />
Although the book starts out as though it is from the perspective of the European protagonist, the narrative is dynamic. By the end of the story the protagonist (and the audience) discover the understanding of his own insignificance.<br />
In the beginning of the story Almayer appears to be at the center of society, but in the end we see that he is very much peripheral and alienated, and that the real cultural, political and economic life of the community is located elsewhere and involves other people besides himself.</div>
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<span class="editsection" style="-webkit-user-select: none; float: right; font-size: 13px; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Hanyut_(film)&action=edit&section=4" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Edit section: Production">edit</a>]</span><span class="mw-headline" id="Production">Production</span></h2>
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<li style="margin-bottom: 0.1em;">Written and directed by<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;"><a href="http://en.wikipedia.org/wiki/U-Wei_Haji_Saari" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="U-Wei Haji Saari">U-Wei Haji Saari</a></li>
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<li style="margin-bottom: 0.1em;">Producers<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;">Julia Fraser ... producer</li>
<li style="margin-bottom: 0.1em;">U-Wei Haji Saari ... executive producer</li>
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</li>
<li style="margin-bottom: 0.1em;">Cast<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;"><a href="http://en.wikipedia.org/wiki/Peter_O%27Brien_(actor)" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Peter O'Brien (actor)">Peter O'Brien</a> ... Kasper Almayer</li>
<li style="margin-bottom: 0.1em;"><a href="http://en.wikipedia.org/wiki/Diana_Danielle" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Diana Danielle">Diana Danielle</a> ... Nina</li>
<li style="margin-bottom: 0.1em;">Sofia Jane ... Mem</li>
<li style="margin-bottom: 0.1em;">Adi Putra ... Dain Maroola</li>
<li style="margin-bottom: 0.1em;">Khalid Salleh ... Orang Kaya Tinggi</li>
</ul>
</li>
<li style="margin-bottom: 0.1em;">Cinematographers<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;">Arkadiusz Tomiak</li>
</ul>
</li>
<li style="margin-bottom: 0.1em;">Editors<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;">Kate James</li>
</ul>
</li>
<li style="margin-bottom: 0.1em;">Production company<ul style="line-height: 1.5em; list-style-image: url(data:image/png; list-style-type: disc; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;">Tanah Licin Sdn Bhd</li>
</ul>
</li>
</ul>
<h2 style="background-color: white; background-image: none; border-bottom-color: rgb(170, 170, 170); border-bottom-style: solid; border-bottom-width: 1px; font-family: sans-serif; font-size: 19px; font-weight: normal; line-height: 19.1875px; margin: 0px 0px 0.6em; overflow: hidden; padding-bottom: 0.17em; padding-top: 0.5em;">
<span class="editsection" style="-webkit-user-select: none; float: right; font-size: 13px; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Hanyut_(film)&action=edit&section=5" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Edit section: References">edit</a>]</span><span class="mw-headline" id="References">References</span></h2>
<div class="reflist" style="background-color: white; font-family: sans-serif; font-size: 12px; line-height: 19.1875px; list-style-type: decimal; margin-bottom: 0.5em;">
<ol class="references" style="line-height: 1.5em; list-style-image: none; list-style-type: inherit; margin: 0.3em 0px 0.5em 3.2em; padding: 0px;">
<li id="cite_note-Y-1" style="margin-bottom: 0.1em;"><span class="mw-cite-backlink"><b><a href="http://en.wikipedia.org/wiki/Hanyut_(film)#cite_ref-Y_1-0" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;">^</a></b></span> <span class="reference-text"><span class="citation web" style="word-wrap: break-word;"><a class="external text" href="http://malaysia.movies.yahoo.com/Hanyut%20The%20Movie/movie/15751/" rel="nofollow" style="background-image: url(data:image/png; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #663366; padding-right: 13px; text-decoration: none;">"Hanyut The Movie"</a>. <i>Yahoo Movies</i>. Malaysia: Yahoo. 2011.</span><span class="Z3988" title="ctx_ver=Z39.88-2004&rft.place=Malaysia&rft_id=http%3A%2F%2Fmalaysia.movies.yahoo.com%2FHanyut%2520The%2520Movie%2Fmovie%2F15751%2F&rft.atitle=Hanyut+The+Movie&rft.genre=book&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.date=2011&rft.jtitle=Yahoo+Movies&rft.pub=Yahoo&rft.btitle=Hanyut+The+Movie&rfr_id=info:sid/en.wikipedia.org:Hanyut (film)"></span></span></li>
<li id="cite_note-GSC-2" style="margin-bottom: 0.1em;"><span class="mw-cite-backlink"><b><a href="http://en.wikipedia.org/wiki/Hanyut_(film)#cite_ref-GSC_2-0" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;">^</a></b></span> <span class="reference-text"><span class="citation web" style="word-wrap: break-word;"><a class="external text" href="http://www.gsc.com.my/movie/MovieContents.aspx?search=2011.339.hanyut.396" rel="nofollow" style="background-image: url(data:image/png; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #663366; padding-right: 13px; text-decoration: none;">"Hanyut the Movie"</a>. <a href="http://en.wikipedia.org/wiki/Kuala_Lumpur" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Kuala Lumpur">Kuala Lumpur</a>: Golden Screens Cinemas. 2011.</span><span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.pub=Golden+Screens+Cinemas&rft.btitle=Hanyut+the+Movie&rft_id=http%3A%2F%2Fwww.gsc.com.my%2Fmovie%2FMovieContents.aspx%3Fsearch%3D2011.339.hanyut.396&rft.date=2011&rft.genre=book&rft.place=%5B%5BKuala+Lumpur%5D%5D&rfr_id=info:sid/en.wikipedia.org:Hanyut (film)"></span></span></li>
<li id="cite_note-AJ-3" style="margin-bottom: 0.1em;"><span class="mw-cite-backlink"><b><a href="http://en.wikipedia.org/wiki/Hanyut_(film)#cite_ref-AJ_3-0" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;">^</a></b></span> <span class="reference-text"><span class="citation web" style="word-wrap: break-word;">Bissme (2011-02-16). <a class="external text" href="http://ajamihashim.blogspot.com/2011/02/hanyutalmayers-folly-2011-bissme-vs-u.html" rel="nofollow" style="background-image: url(data:image/png; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #663366; padding-right: 13px; text-decoration: none;">"Hanyut/Almayer's Folly (2011) ~ Bissme vs. U-Wei"</a>. Kuala Lumpur: Ajami Hashim<span class="reference-accessdate">. Retrieved 18 February 2011</span>.</span><span class="Z3988" title="ctx_ver=Z39.88-2004&rft.aulast=Bissme&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.pub=Ajami+Hashim&rft.btitle=Hanyut%2FAlmayer%27s+Folly+%282011%29+~+Bissme+vs.+U-Wei&rft_id=http%3A%2F%2Fajamihashim.blogspot.com%2F2011%2F02%2Fhanyutalmayers-folly-2011-bissme-vs-u.html&rft.date=2011-02-16&rft.genre=book&rft.place=Kuala+Lumpur&rft.au=Bissme&rfr_id=info:sid/en.wikipedia.org:Hanyut (film)"></span></span></li>
</ol>
</div>
<h2 style="background-color: white; background-image: none; border-bottom-color: rgb(170, 170, 170); border-bottom-style: solid; border-bottom-width: 1px; font-family: sans-serif; font-size: 19px; font-weight: normal; line-height: 19.1875px; margin: 0px 0px 0.6em; overflow: hidden; padding-bottom: 0.17em; padding-top: 0.5em;">
<span class="editsection" style="-webkit-user-select: none; float: right; font-size: 13px; margin-left: 5px;">[<a href="http://en.wikipedia.org/w/index.php?title=Hanyut_(film)&action=edit&section=6" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Edit section: External links">edit</a>]</span><span class="mw-headline" id="External_links">External links</span></h2>
<ul style="background-color: white; font-family: sans-serif; font-size: 13px; line-height: 19.1875px; list-style-image: url(data:image/png; margin: 0.3em 0px 0px 1.6em; padding: 0px;">
<li style="margin-bottom: 0.1em;"><a class="external text" href="http://www.imdb.com/title/tt1823126/" rel="nofollow" style="background-image: url(data:image/png; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #663366; padding-right: 13px; text-decoration: none;"><i>Hanyut/Almayer's Folly</i></a> at the <a href="http://en.wikipedia.org/wiki/Internet_Movie_Database" style="background-image: none; background-position: initial initial; background-repeat: initial initial; color: #0b0080; text-decoration: none;" title="Internet Movie Database">Internet Movie Database</a></li>
<li style="margin-bottom: 0.1em;"><span class="citation web" style="word-wrap: break-word;">Roy Lim Jian-Min (2010-05-11). <a class="external text" href="http://www.cinema.com.my/news/gallery.aspx?search=2010.g_visualhanyut_3952" rel="nofollow" style="background-image: url(data:image/png; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #663366; padding-right: 13px; text-decoration: none;">"Visualising "Hanyut The Movie""</a>. <i>Photo shoot</i>. Kuala Lipis, Pekan: Cinema Online<span class="reference-accessdate">. Retrieved 18 February 2011</span>.</span></li>
</ul>
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-88335439006830294012013-04-09T08:45:00.002-07:002013-04-09T08:45:32.666-07:00Nanook of the North - early documentary by Dean W. Duncan<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">In 1910 Sir William Mackenzie hired Robert Flaherty to prospect the vast area east of the Hudson Bay for its railway and mineral potential. Over the course of several years and through four lengthy expeditions Flaherty had frequent contact with the region’s Inuit (Eskimo) people. He was taken by their traditional survival skills, and found an unexpected spirituality in this northern extreme—a profound cultural grace and dignity in a wickedly unforgiving environment. He also knew that he was witness to and a harbinger of its obliteration. What could be done? On one of his expeditions, Flaherty brought along a motion picture camera.</span><br />
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<img src="http://anth229.pbworks.com/f/nanook-of-the-north-title.jpg" /><br />
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<i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Nanook</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">of</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">the</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">North</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> was not initially intended as a documentary, a genre which had not even been defined at the time of the film’s production. As Flaherty’s widow Frances affirms in the interview featured on this disc, the film was made with an eye for commercial distribution and exhibition, and for audiences accustomed to narrative fiction films. Flaherty was not an ethnographer, but he was building his story out of the materials of real life. In this he was blazing cinematic trails, and even though the tenets of anthropological filmmaking were not nearly in place, it is remarkable how much he still managed to get right. Initiating a practice that would later become fundamental ethnographic etiquette, Flaherty developed each day’s footage and screened it for the participants, who were encouraged to make suggestions. Since the Inuit were the authorities on their own lives, many of these suggestions were incorporated into the film. Consistent with this substantial artistic collaboration, and contrary to a narrative and stylistic impulse that would prevail elsewhere for many more years, Flaherty does not intrude on his subject. He is not the star of his film, and though his effaced presence causes a few unsightly wrinkles (contrivances—like Nanook’s biting of the phonograph record—are presented as actual and natural), for the most part it means that the credit for the film’s feats of courage and grace goes precisely where it belongs: to the Inuit. </span><br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBXSirXAi9LEj2VID1GhZ6qKSfrhOWOPHAzl4V-GsKXzD6BE-bJf2NmDrdXs01xhK99Cv9oZqYyCm-EwT6WAeQcjCn5O7mvAUHLSCuxMN2mkhPKmVC0Xvq-D_5a7oEVwhwCLmTSsVJ-jM/s1600/NanookGramaphone.jpg" /><br />
<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">In its earliest years (approx. 1895–1902), film production was dominated by actualities, short pictures of real people in real places. Comprised largely of two categories—the travelogue and, more substantially, the industrial-life portrait—these films favored an unmediated view of the world over arranged spectacle. Though they gave way in popularity to the narrative fictions of Georges Méliès and Edwin Porter, they continued to be produced in great number. Robert Flaherty’s great innovation was simply to combine the two forms of actuality, infusing the exotic journey with the details of indigenous work and play and life. By so doing Flaherty transcended the travelogue, as the picturesque became a real and respectful portrait.</span></div>
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<img src="http://www.oneworldmagazine.org/seek/nanook/pix/nanook5.jpg" /><br />
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<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">That portrait has two things that, even today, remain at the very core of the documentary idea. These are process and duration—the detailed representation of how everyday things are done (burning moss for fuel, covering a kayak, negotiating ice floes, hunting, and caring for children) and how long the doing takes. For instance, consider Nanook’s stunning igloo-building sequence, where labor is not only revealed in its social context, but emerges, through Nanook’s skill and Flaherty’s cinematic revelation, as an ideal of beauty and spirituality. First there is shelter, then warmth, and finally light (the window!); here and elsewhere in the film, by giving real processes a human dimension, craftsmanship and artistry become one. </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Nanook</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">of</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">the</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">North</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">pioneered these ideas, and it remains nearly matchless in executing them.</span><br />
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<img src="http://www.film.com/wp-content/uploads/2012/03/936full-nanook-of-the-north-poster.jpg" /><br />
<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Nevertheless, the film is full of faking and fudging in one form or another. Observers (starting with John Grierson) would come to accuse Flaherty of ignoring reality in favor of a romance that was, for all its documentary value, irrelevant. The family at the film’s center was not at all. These were photogenic Inuit, cast and paid to play these roles. The characters’ authentic clothes were actually a nostalgic hybrid; the Inuit had started to integrate Western wear some time previously. This integration was in fact quite general: igloos were giving way to southern building materials, many harpoons had been replaced by rifles, many kayak paddles by motors. The seal that appears to be engaging Nanook in a delightful tug of war is actually dead; Nanook is in fact being pulled around by friends at the other end of the rope, standing just off camera. During the famous walrus hunt the hunters desperately asked the filmmaker to stop shooting the camera and start shooting the rifle. For his part, Flaherty pretended not to hear, and kept filming until the prey was taken in the old way. A failed bear hunt (not appearing in the film, but related in Flaherty’s northern memoir, </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">My</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Eskimo</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Friends</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">) left its participants, Flaherty included, stranded and nearly starving for weeks.</span></div>
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGNU38-lnu-QImLkSLLf1kDk3NNBMuJJS1bnPzehFWdWz0D7-IdDlk1KH8c2INMUr1c82scsIYSXMI5PqnZ7tO-hQoyrhbYh_UTN2MhG94ta2v-aLhLIWgAdTAl83OveiN4m6QjxTSNv_t/s1600/nanook2.jpg" /><br />
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<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Flaherty’s shortcomings, as well as those of his films, are certain, and they should be acknowledged. However, it is fair to point out that, with regard to endangerments for the film’s sake, Flaherty exposes the Inuit to difficulties that are well within the realm of their traditional experience. More importantly, Nanook’s partial inaccuracies and manipulations resulted from Flaherty’s desire to preserve a sense of ancient traditions before it was too late. </span><br />
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<img src="http://upload.wikimedia.org/wikipedia/commons/8/80/Tournage_de_Nanook_of_the_North_1922.jpg" /><br />
<span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">When confronted with the dubious documentary status of his last film, Flaherty would emphasize its title, which was of course </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Louisiana</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;"> </span><i style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">Story</i><span style="background-color: white; color: #353535; font-family: Helvetica, Arial, Verdana, sans-serif; font-size: 14px; line-height: 19.59375px;">. Likewise, an essential addition to this new version is Nanook’s original subtitle: “A story of life and love in the actual Arctic.” In making this film, Flaherty was telling a story, and from first to last he never claimed differently.</span></div>
Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-50678327223410999052013-04-08T05:24:00.000-07:002013-04-08T05:24:00.343-07:00CINEMATIC STORYTELLING " book review " <span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-text-size-adjust: auto;"><img alt="Cinematic Storytelling" border="0" height="80" src="http://www.cinematicstorytelling.com/header.jpg" width="626" /><br /><table align="left" border="3" cellpadding="8" cellspacing="6" style="width: 626px;"><tbody>
<tr><td><i>"Here is a uniquely fresh, accessible, and truly original contribution to the field. Jennifer Van Sijll takes her readers in a wholly new direction, integrating aspects of screenwriting with all the film crafts in a way I've never before seen. She underscores cinema's collaborative nature, and celebrates the collective family of film artists who struggle together in the creation of worthy movies. It is essential reading not only for screenwriters but also for filmmakers of every stripe."<br /> <b>- Prof. Richard Walter<br /> UCLA Screenwriting Chairman </b></i><br /><br /><i>"A powerful and evocative guide for screenwriters and filmmakers alike."<br /> <b>- Frank Beddor, Producer<br /> There's Something About Mary </b></i><br /><br /><i>"Cinematic Storytelling shows you how story ideas are realized in script form and then transformed again when it moves from script to screen. It underscores how this process necessitates the collaborative relationship between writers and directors. Van Sijll has written an essential guide for aspiring writers and directors."<br /> <b>- Mardik Martin, Screenwriter<br /> Raging Bull, Mean Streets, and New York, New York<br /> Senior Lecturer of Screenwriting at USC </b></i><br /><br /><i>"Wow! A screenwriting book with an original and insightful approach. Jennifer Van Sijll takes you step by step through the complex transfer from blank page to motion picture. I can finally show a book to my mother and say 'This is what I do for a living."<br /> <b>- Larry Karaszewski<br /> Golden Globe-winning screenwriter of<br /> Ed Wood and The People vs Larry Flynt </b></i><br /><br /><i>"Ms. Van Sijll breaks down years of film school into one magnificent book. Three cheers for this clear-cut and extraordinary work."<br /> <b>- Libby Hinson<br /> two-time Emmy winner, Humanitas nominee and<br /> winner of the 2004 New York Film Festival Award </b></i><br /><br /><i>"A valuable contribution to the art of storytelling. A must read."<br /> <b>- Michael MacMillan, Producer<br /> CSI:Miami, CSI:NY, CSI:Crime Scene Investigation<br /> CEO Alliance Atlantis Communications</b></i><br /><br /><i>"For anyone serious about writing and directing."<br /> <b>- P.J. Haarsma, writer of The Softwire Series</b></i><br /><br /><i>"Cinematic Storytelling, as its name implies, conveys, in visual images, the most essential, most effective cinematic techniques directors and cinematographers use to tell stories. Employing classic images and accompanying text from some of the most memorable scenes in some of the most innovative films in recent times, the book is an instructive visual feast for everyone who aspires to effectively tell great stories with compelling images. Highly recommended."<br /> <b>- Jeffrey M. Freedman, Screenwriter, Author</b></i><br /><br /><i>"This is the preeminent text for any screenwriter who is seriously thinking about directing their own screenplay. By blending classic and contemporary references, Van Sijll plants the seeds for a new generation of auteurs."<br /> <b>- Catherine Clinch, Creative Screenwriting</b></i><br /><br /><i>"Jennifer Van Sijll's book makes a direct hit in terms of concise information and perfectly chosen visuals, but it also searches out an emotional core that many books of this nature either miss or are afraid of...this book finds it."<br /> <b>- Kirsten Sheridan, co-writer, In America<br /> director, Disco Pigs</b></i><br /><br /><i>"A smart, analytical guide. Van Sijll truly understands what makes great movies work. A first-rate roadmap and a veritable tour de force of succinct writing.""<br /> <b>- Jake Eberts, Executive Produce, The Name of the Rose<br /> Hope and Glory, Driving Miss Daisy, Dances with Wolves,<br /> A river Runs Through It, Chicken Run </b></i><br /></td></tr>
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</span>Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-24966260785088258742013-04-04T06:26:00.000-07:002013-04-08T15:30:22.932-07:007 Major Mistakes Inexperienced Assistant Directors Make+howtofilmschool.com<br />
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<a href="http://howtofilmschool.com/working-as-a-1st-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Working as a 1st Assistant Director">Being an assistant director is not easy work</a> and mistakes can be made. Making mistakes is a part of the job but that being said; learning from your mistakes is one of the most important parts of any job. Everyone makes mistakes but not everyone owns them, be the kind of person that owns up to a mistake and then don’t do it again.</div>
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Below I have listed what I think are seven of the most common mistakes that assistant directors make, either when starting out or when they get over comfortable with what they are doing. If you think you might be guilty of any of the following, my best advice is to try to correct the mistake or people will soon stop calling you for work.</div>
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<span style="color: #ff6600;">Mistakes Often Made by Assistant Directors</span></h3>
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<strong>Over Confidence -</strong> To me there is not much worse than an assistant director that comes to set full of confidence that errs on the side of arrogance and then under performs at their job. This isn’t to say that I don’t want my assistant director to have confidence; I think being confident is a major part of the job but your confidence has to match your skills. An arrogant assistant director that isn’t very good at their job is only going to piss people off and make the crew lose respect for them. You need to focus on your ability to do the job and then with that, should come the confidence.</div>
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<strong>Under Confidence – </strong>To now go in the complete opposite direction, it is very frustrating when you get on a set and you can’t tell who the assistant director is because you can’t see or hear them. The assistant director is the voice on set, people look to the assistant directors to know what is happening and when. If you lack confidence and are not firm in your decisions and instructions then no one will listen to you and it will be very hard to keep the day moving as people will constantly be wondering what is going on. You need to be assertive and confident to get this job done correctly.</div>
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<strong>Easily Distracted – </strong>One of the most important skills for an assistant director to have is focus. You need to be paying attention to many things, sometimes all at once and you are also in charge of other people. No one wants to see the assistant director hanging out and chatting at the craft services table or sitting in a corner playing on their phone. I know you want to be the Angry Birds champion but there is a time and a place and set is not it. Keep your eye on what is important, make your day and lead the team. If people see that the assistant director isn’t focused then they too will lose theirs.</div>
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<strong style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; line-height: 20px; word-spacing: 1px;">Unaware of Role - </strong><span style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; line-height: 20px; word-spacing: 1px;">Before you take a job make sure you know what is being asked of you. I don’t think that it is fair to accept a job offer if you a) don’t know how to do the job properly or b) aren’t passionate about what you are doing. The assistant director is hired to do so much more than just call rolls and call out when you’re moving on. The assistant director needs to be heavily involved in the pre-production process of any project, the more involved in pre-production the smoother production will go. While on set the assistant director needs to oversee what is going on at all times. You need to be the person on set that has all of the answers and if you don’t have an answer then you need to know who does. </span><a href="http://howtofilmschool.com/checklist-for-creating-a-schedule/" style="background-color: white; color: #ff7300; font-family: Verdana, Geneva, Tahoma, sans-serif; line-height: 20px; outline: none 0px; text-decoration: none; word-spacing: 1px;" title="Checklist for Creating a Film Schedule">Know the schedule, after all if you are doing your job right then you created it.</a><span style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; line-height: 20px; word-spacing: 1px;"> Know what options you have should anything go wrong such as bad weather or someone not showing up to set. Never assume that you are only hired to say “roll camera”.</span><br />
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<strong>Micro Managing - </strong>The assistant director has a lot on their plate and they only make their job and life harder and more stressful when they feel that they can’t trust their team to do the job that they were hired to do. The assistant director oversees but doesn’t have to have their hands in everything. Trust that if you have given an instruction that it will get done, if you ask how long something is going to take then let that time pass before you start harassing the team. <a href="http://howtofilmschool.com/working-as-a-2nd-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Working as a 2nd Assistant Director">Trust your 2nd</a> and <a href="http://howtofilmschool.com/working-as-a-3rd-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Working as a 3rd Assistant Director">3rd AD’s as well</a>, they are hired to make things easier for you, let them do their job so you can focus on yours.</div>
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<strong>Unable to Delegate - </strong>This one kind of goes hand in hand with micro managing except with this I mean don’t make yourself do all of the work because you are afraid to ask for help or don’t know who to give certain jobs to. You have a team for a reason, get them to work on things that you don’t have the time to do. Don’t be a martyr, share the work load and get things done as a team. Also know when someone is under performing, if you have tasked someone with something and they can’t deliver then get someone else to do it. Be professional, don’t worry too much about hurting someone’s feelings, keep your eye on what needs to be done. It’s nice to make friends at work but that isn’t why we do it.</div>
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<strong>Hoarding Information - </strong>I will admit that I get irritated quite easily but I cannot stand when someone is hired as an assistant director and they think that, that gives them power. Hoarding information as an assistant director is essentially the opposite of what you should be doing. I don’t mean gossip, I mean share things that need to be shared, don’t keep things to yourself until the last possible minute because you felt special knowing something that others didn’t. The best way to run a set is to be open and communicative, sharing information and problem solving is how you get the job done.</div>
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These are, for me, the seven biggest mistakes made by assistant directors. You don’t have to be new to make these mistakes, I have known people working for years as assistant directors that are still guilty of these things.</div>
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Be aware of how you are perceived and be aware of how smoothly your sets run. If you are sitting and wondering why you aren’t working more or getting more calls maybe consider that you may be guilty of one or more of these.</div>
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CREDIT TO : howtofilmschool.com</div>
<br />Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-27221171875669764172013-04-02T06:22:00.000-07:002013-04-02T06:22:00.595-07:005 Tips for the Aspiring Cinematographer<br />
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We here at How To Film School have talked to some local cinematographers and lighting technicians and have compiled a list of tips to help all you young aspiring cinematographers out there get started. Now, some of these might be a little obvious, but you would be surprised how many people don’t realize how much work they need to put into their careers if they want to be successful.</div>
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Many people starting off in the film industry think that they will become the next <a href="http://www.imdb.com/name/nm0005683/" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="Roger Deakins IMDB Page">Roger Deakins</a> or <a href="http://www.imdb.com/name/nm0002892/" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="Wally Pfister IMDB Page">Wally Pfister</a> over night, what they don’t realize is that someone like Pfister worked at and improved on his craft for almost two decades before even meeting Christopher Nolan and shooting Memento.</div>
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<span style="color: black;">5 Tips for the Aspiring Cinematographer</span></h3>
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<span style="color: #ff6600;">Study</span></h3>
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Study as many techniques as possible and try to be on top of the latest technology. The internet is a wonderful learning resource and this is only one of thousands of web sites where you can learn about film making, cinematography and lighting.</div>
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You can also buy books on cinematography there are hundreds of <a href="http://www.amazon.com/s/?_encoding=UTF8&camp=1789&creative=390957&field-keywords=cinematography&linkCode=ur2&rh=i%3Aaps%2Ck%3Acinematography&tag=how0a85-20&url=search-alias%3Daps" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">cinematography books on amazon.com</a>. I also recommend getting a subscription to <a href="http://www.theasc.com/index.php" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="The ASC Website">the American Cinematographer Magazine</a>. It doesn’t end at that…watch movies! Pay attention to how the light falls, light quality and camera language. Cinematographers are always striving to be better and push the limits of the technology and you have the ability to be right there with them.</div>
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<span style="color: #ff6600;">Get a DSLR</span></h3>
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Photography is the basis of cinematography, through photography you will learn framing, composition, exposure, etc. If you are shooting 16mm or 35mm you can use your DSLR to get an idea of how your lighting will look before you roll on it. Not only that but most new DSLR’s have the ability to shoot HD video. That’s all that you need to start shooting and getting your work out there. You don’t need to invest in a $100,000 camera package to start shooting quality work.</div>
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You can find great deals on DSLRs at your local retailers or online. Some of the best online prices for <a href="http://www.amazon.com/s/?_encoding=UTF8&camp=1789&creative=390957&field-keywords=canon%20dslr&linkCode=ur2&tag=how0a85-20&url=search-alias%3Daps" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">DSLRs are from Amazon.com</a> and <a href="http://www.bhphotovideo.com/?BI=8563&KBID=9612&DFF=d10-v1-t8-x4" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="bh photo video">BHPhotoVideo.com</a>. You also don’t need to invest in the best glass like Zeiss Cp2′s or Canon “L” Series either. Old Nikon lenses can be found on eBay and adapted to various mounting types.</div>
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<span style="color: #ff6600;">Network</span></h3>
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Get out there and meet people, you don’t have to have a reel, website or business cards right away, although they help. The more film makers and enthusiasts you know the higher your chance of getting a cinematography job, any set job even. Networking can be done at parties, screenings, on set and even on social networking websites like <a href="https://twitter.com/howtofilmschool" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="How To Film School on Twitter">Twitter</a> or <a href="http://www.facebook.com/HowToFilmSchool" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="How To Film School on Facebook">Facebook</a>.</div>
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You could be as low as a Production Assistant on a movie and make good friends with other assistants or even the Production Manager. All it takes it saying “Hey, I’m into shooting and I’d love to work with you”. Done! You just networked and you’re on your way to getting that first Director of Photography job.</div>
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<span style="color: #ff6600;">Get on Set</span></h3>
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It doesn’t matter if you’re the cinematographer, <a href="http://howtofilmschool.com/grip-lighting-technician/" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="grip and lighting technician">a lighting technician</a>, a production assistant or <a href="http://howtofilmschool.com/craft-services-and-catering/" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank" title="Craft Services and Catering: It’s Important">making food for craft</a>. Get on some film sets and pay attention to how scenes are being lit, in fact pay attention to EVERYTHING. Many of the most successful and talented Cinematographers and Directors these days came from another department in the film industry. They worked for years taking in everything around them and learning from what other people did right and wrong. Imagine working on a feature film and studying how and why they lit and covered their scenes, then getting to see it all cut together. Sounds great, right?</div>
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<span style="color: #ff6600;">Shoot Something</span></h3>
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This one seems very obvious, but you would be surprised how many aspiring cinematographers and filmmakers just leave it at that, an aspiration. Do you really want to Direct Photography? Well, get out there and shoot! Lights, no lights, standard definition, high definition…those are just words and words shouldn’t hold you back.</div>
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Experience speaks for itself and any experience is better than none. The more you shoot the more comfortable you’ll be with cameras, working with actors, directors and the more you’ll understand about lighting, composition and camera language. Not to mention the more people will see your work and be more likely to throw a job your way. So, shoot something, ANYTHING!</div>
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CREDIT TO : howtofilmschool.com</div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-80486723954813677602013-04-01T06:18:00.000-07:002013-04-01T06:18:01.325-07:00Working as a 1st Assistant Director<br />
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One thing I didn’t really understand until I started working on sets was the role of the assistant directors. In this three-part blog I will break down the roles of the 1<sup>st</sup>, 2<sup>nd</sup>, and 3<sup>rd</sup> assistant directors. Let’s start at the top. The role of the 1st Assistant Director is a very important one on any set and thinking that you can get away without one is a big mistake. You will want to have your 1<sup>st</sup> Assistant Director hired as early as possible; the 1<sup>st</sup> plays a very big role in pre-production.</div>
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<span style="color: #ff6600;">Responsibilities of the 1<sup>st</sup> AD in Pre-production:</span></h3>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Breakdown the script</strong>: this means going through the script and making note of any and every aspect of the script that will require attention. This could be making note of props, sounds, special effects etc. Check out <a href="http://howtofilmschool.com/script-breakdown/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Script Breakdown"><strong>Breaking Down Your Script</strong> </a>for more in-depth details.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Break the script down into 8ths of pages:</strong> once you have experience with this you can do this by eye, but when starting out it is best to mark the pages. Each script page gets broken down into 8ths; this information is useful for both schedules and call sheets. Each page of the script should equal about 1 minute of screen time.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><a href="http://howtofilmschool.com/checklist-for-creating-a-schedule/#more-569" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank"><strong>Create the schedule:</strong> </a>This is a task that requires input from all department heads, as well as the director and the producer. To make your life easier I recommend <a href="http://howtofilmschool.com/creating-a-schedule-using-movie-magic-scheduling/#more-280" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank"><strong>Movie Magic Scheduling</strong></a>. Your shooting schedule should outline the order in which you plan to shoot and all of the required talent and special needs of the scene. It is also very important to work with department heads here and figure out how long scenes will take to shoot, find out whether or not pre-calls are required and plan out the timing of everyday.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Breakdown sheets for all scenes:</strong> these can be made easily in Movie Magic Scheduling and they are great to distribute to all departments. They are detailed sheets that highlight all the notes you took when breaking down the script. <a href="http://www.amazon.com/exec/obidos/ASIN/B003332OM8/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Movie Magic Scheduling is available from Amazon.com</a></li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Create a One Liner</strong>: this is a document that shows the scenes you will be shooting and the order in which you will be shooting them. It is a quick reference document with the most important details like the scene number, scene name, one line of description, time of day and how many pages.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Complete a Day out of Days:</strong> this is a chart outlining the cast members and the days they are working. This is for you to know how many days each cast member needs to be paid for. This should be completed once you have finished the schedule and is also subject to change.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Have a list of all locations:</strong> it is good to include the real name of the location as well as the name used in the script. Your locations manager should provide this list to you, if you have one, if not the production coordinator should have this.</li>
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Once you have these documents made and sorted you can have your 2<sup>nd</sup> AD <a href="http://howtofilmschool.com/making-a-call-sheet/#more-416" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">begin work on the Call Sheets</a>. When shooting begins the paperwork shifts to the 2<sup>nd</sup> AD and as the 1<sup>st</sup>assistant director your responsibilities shift to the following.</div>
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<span style="color: #ff6600;">Responsibilities of the 1st AD during Production:</span></h3>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>You are to be the voice</strong> that gets the crew doing what they are supposed to and making sure that the day is made.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Introduce yourself on the first shoot day</strong>, make yourself accessible but also be firm and don’t let yourself get taken advantage of. You have a schedule to keep.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Make sure that a blocking is done</strong>, if a private blocking is required allow that to happen first and then have a blocking for the departments to watch.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Once the blocking is finished hand the floor over to the techs</strong> and allow them to light the scene. Once the techs have finished with the floor, final touches by the art department can be done.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Allow for a rehearsal or two</strong>, especially if there are any effects or dolly moves that need to be practiced.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>When you are ready to roll make sure that everyone is aware</strong>, be sure to make your commands out loud as well as <a href="http://howtofilmschool.com/walkie-talkie-etiquette/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="HowToFilmSchool’s Film Set Walkie Talkie Etiquette Guide">over the walkie</a>.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Call for a lock up, quiet, roll camera, and roll sound.</strong> Make sure to key the walkie and say “rolling, rolling” and when the take is over key the walkie again and say, “cut”. It is very important to address everyone in the room as well as those over the walkie. People may be all over the set and not hear you.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Reset everyone back to 1<sup>st</sup> positions</strong> if you are going for another take or if the director is happy and wants to move on then let everyone know that you are moving on and what it is that you are moving on to.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Keep the day on schedule</strong>, if you are falling behind try to motivate the crew to work a little faster and you may need to speak to the director if they are taking too much time on things.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Ask for Grace:</strong> If you are ever running behind and it is looking like lunch might need to be pushed later, you need to ask each department head for Grace, you can’t just push lunch. Ask each department to agree to it, it is very important that the crew feels that you respect them.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Communicate with the Crew:</strong> as with lunch, the same goes for shooting past the standard 12+1 day, if you think you will be going past that, run the idea by your department heads before you make the decision.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Have a set box:</strong> this can really save you. It is good to have copies of important documents in there, as well as water, a first aid kit, a couple of tools, nails and screws etc.</li>
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<span style="color: #ff6600;">Skills Needed to Work as a 1st Assistant Director</span></h3>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Be Organized.</strong> There is a lot of paperwork involved in AD’ing and the more organized and well thought out things are, the smoother things will run when shooting starts.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Manage Your Time.</strong> The more you work as an AD the better you will get at knowing how long it will take to get things done. When you are creating the schedule make sure to allow enough time to get your scenes shot. Don’t cram scenes in that you know you won’t make because you think the producer will appreciate your ambitiousness. Give reasonable amounts of time to get things done and also allow for set backs.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Manage Others Time.</strong> Along the lines of managing your time, you need to manage everyone else as well. If you have allowed an hour to shoot something and you know that to be a reasonable amount but your director is over shooting or the lighting team is over tweaking, know when to cut them off and get things moving. A director will shoot until you tell them to stop and the lighting team could tweak all day if you gave them the time. Know when enough is enough and get things back on track. It is up to you to make the day!</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Be Confident and Communicate.</strong> Confidence is must have skill when it comes to working as an AD. You are the voice on set that is telling everyone what is happening at all times. If you are shy or quiet than this is not the job for you. When you give instructions to the crew it needs to be done with authority and the crew needs to know that you are serious. If you have to be strict then do it. If you are confident; your crew will be confident. Don’t give your crew any reason to doubt you. Be clear in your instructions and keep an open communication with the team. Listen to suggestions and take them into consideration when moving through the day.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Problem Solve.</strong> If issues arise you need to be the person who is staying calm and coming up with solutions. The director might freak out and you can let them but you need to be doing everything you can to solve the problem. In a single day you may be hit with a lot of problems, you might have talent that isn’t cooperating, you may lose a location, you might be running out of daylight and the list keeps going. Keep a level head and work out a solution.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>First Aid Training:</strong> As the 1st Assistant Director it is standard for you to have your First Aid Training. There may be another safety rep on set or even a medic but the 1st should be trained to give medical attention in the case of any on set accidents.</li>
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Overall the 1<sup>st</sup> Assistant Director needs to be the person of authority on set, you need to get the crew moving and keep them motivated. Respect their requests and try to keep them happy, the better the crew feels, the harder they are willing to work. Your goal is to make your day, <a href="http://howtofilmschool.com/checklist-for-creating-a-schedule/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Checklist for Creating a Film Schedule">stay on schedule </a>and try to not have the director compromise their vision. Know when to move on and know when to let the director have extra time. 1<sup>st</sup> AD’ing is something that you get better and better at over time. The first time you do it will be very intimidating and more than likely scary. It will get easier and you will pick things up along the way that will make you better at the job. The 1<sup>st</sup> AD has a very important job and it can be quite stressful, work together with the crew and it will make your job easier.</div>
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<a href="http://howtofilmschool.com/working-as-a-2nd-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Working as a 2nd Assistant Director">Check out part 2 Working as a 2nd Assistant Director </a>and <a href="http://howtofilmschool.com/working-as-a-3rd-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="Working as a 3rd Assistant Director">part 3 Working as a Third Assistant Director</a>.</div>
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CREDIT TO : howtofilmschool.com</div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-34849996783773208992013-03-31T06:14:00.000-07:002013-03-31T06:14:00.755-07:00Working as a Gaffer: What Does a Gaffer do?<br />
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<strong>This is an in-depth blog breaking down Working as a Gaffer in film and television. Please comment below. As a reader it is your responsibility to help us make this post better! What is it missing? Have any questions?</strong></div>
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The Gaffer (Chief Lighting Technician) is the Lighting Technician on a film set that is responsible for the execution of the cinematographer’s lighting plan. He or she works directly with the cinematographer and runs the lighting crew to achieve the look of the film the DOP is going for. Being the gaffer is not a job to take lightly and all gaffers should strive to always be learning and on top of the latest equipment and technology.</div>
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It is a very stressful and difficult job, but is also extremely gratifying and can pay very, very well.</div>
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Firstly, <strong>The Set Lighting Technicians Handbook is your bible</strong>. No joke. Book stores don’t normally carry it, so <a href="http://www.amazon.com/exec/obidos/ASIN/0240810759/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">buying it on Amazon.com is the easiest way of getting it</a>. Read it and have it with you on set. It is an amazing aid for learning about gear, trouble shooting, general reference and a fantastic read when baby sitting a light in a lift all day.</div>
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Working as a Gaffer:</h3>
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<span style="color: #ff6600;">Responsibilities</span></h3>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>The Gaffer executes the Cinematographers lighting plan.</strong></li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Run the Lighting Crew.</strong> With help from the best boy you run the rest of the lighting technicians to run power, set lights and pre-light up and coming scenes and/or sets</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Electrical Safety</strong>. The gaffer and/or the genny op are responsible for electrical safety on a film set. On smaller sets where there is no Generator Operator the gaffer is solely responsible for electrical safety.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Attending pre-production meetings, scouting locations and general prep for the project.</strong> Meet with the DOP and Key Grip to discuss the lighting approach to the film and each scene individually and decide what lighting and equipment is necessary.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Think ahead and keep an eye out for any problems that may arise.</strong> This includes having fixtures standing by for close-ups, relight and solving issues before or as they arise.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Act as a second pair of eyes for the DOP. </strong>As the scenes and/or sets are being lit, the gaffer must act as a second pair of eyes for the cinematographer. When rolling you must look for stuff like ugly shadows, hot spots, over and under exposure, or inadequate light.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Look for any opportunity to make the scene look more interesting. </strong>This is difficult and a little touchy as some DOPs prefer a gaffer who will only execute their plan. As you gain experience and build a relationship with a cinematographer and begin to understand their preferences or have a good idea of what the scene calls for this will become easier.</li>
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<span style="color: #ff6600;">Skills</span></h3>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>The Gaffer Needs Creativity. </strong>Being a gaffer involves an amazing combination of creativity and technical skill, but creativity is very important. You might need to do something out of the ordinary or come up with interesting solutions on the spot.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>High level of technical skill & knowledge. </strong>You need to know how to use all the gear and be able to get to most out of fixtures in any number of situations as well as have a basic understanding of cameras, ISO’s and latitude.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Strong problem solving skills. </strong>Often times lights will break down or things will happen beyond your control where you will need to figure out a solution for something or give a cinematographer various options based on the gear that is available.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Strong communication skills. </strong>You must communicate clearly and give solid instructions to the people working under you. All it takes is mixing up a couple of words and you can completely misdirect your team and waste a lot of time. Learn to communicate effectively.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Fast decision-making. </strong>So much of being a gaffer is internalizing a large amount of information and making quick decisions based on that information<strong>.</strong></li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Patience & tact. </strong>Often times you will be dealing with slow departments and crew members or having to discuss and ask for things from other departments. Patience and tact is a must.</li>
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When lighting a scene the cinematographer will decide placement of each fixture to meet the desired look. The DOP may express what they’re going for in several different ways, this includes anything from very specific instructions that must be followed to a T</div>
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<strong>Example:</strong> I want to key with a t12 into a claycoat coming back through some light grid at an f2.8 from here and a 4k with a stipple lens as a backlight at a f5.6 from back there.) to very broad set instructions that the gaffer will have to translate into the right fixtures (e.g. I’m thinking a large, warm, soft source here and a cooler hard back light there). Either way as a gaffer you must have a very solid understanding of the gear and how to get the most out of it based on different situations and sets of instructions.</div>
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Even though the cinematographer is responsible for the overall lighting and look of a film as the gaffer’s relationship with various cinematographers grows they may be given more or less latitude depending on the situation. In some situations depending on the size of the production the gaffer will be allowed to light the backgrounds, add last-minute lights or act as a second unit DOP.<a href="http://www.bhphotovideo.com/?BI=8563&KW=&KBID=9612&img=bh-yt-nikon.gif" style="color: #ff7300; outline: none 0px; text-decoration: none;"><br /></a></div>
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<span style="color: #ff6600;">Pouches and Set Tools</span></h3>
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<strong>Three easiest places to get Pouches, Belts and Tools:</strong></div>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong><a href="https://www.google.com/#hl=en&tbo=d&sclient=psy-ab&q=local+hardware+store&oq=local+hardware+store&gs_l=hp.3..0j0i30l3.2432.7073.0.7317.20.13.0.7.7.1.199.1556.6j7.13.0.les%3B..0.0...1c.1.Xi3_JCd1CY8&pbx=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=1bb21ec738712d4&bpcl=38897761&biw=1360&bih=603" style="color: #ff7300; outline: none 0px; text-decoration: none;">Local Hardware Store</a></strong></li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong><a href="http://www.amazon.com/s/?_encoding=UTF8&camp=1789&creative=390957&field-keywords=tool%20pouch&linkCode=ur2&rh=i%3Aaps%2Ck%3Atool%20pouch&tag=how0a85-20&url=search-alias%3Daps" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Amazon.com</a></strong></li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong><a href="http://search.filmtools.com/search?keywords=tool+pouch&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Filmtools.com</a></strong></li>
</ul>
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Although above I link to general pouches I do think Rip Offs make the best pouches for grip and lighting technicians. You can find <a href="http://www.amazon.com/s/?_encoding=UTF8&camp=1789&creative=390957&keywords=ripoffs%20holster&linkCode=ur2&qid=1354105290&rh=n%3A228013%2Ck%3Aripoffs%20holster&tag=how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">RipOffs Tool Pouches on Amazon.com</a> as well as <a href="http://search.filmtools.com/search?keywords=ripoffs&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Film Tools</a>.</div>
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<strong>Now the tools that will fill that belt:</strong></div>
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C-Wrench<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4732.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignright" height="187" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4732-1024x682.jpg" style="border: 0px; float: right; margin: 5px 0px 20px 24px;" title="IMG_4732" width="274" /></a></strong></h3>
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8 or 10 inch crescent wrenches work best. If trying to be light weight look for a 6inch crescent wrench with an extra wide jaw</div>
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<strong><a href="http://www.amazon.com/mn/search/?_encoding=UTF8&tag=how0a85-20&linkCode=ur2&camp=1789&creative=390957&field-keywords=crescent%20wrench&url=search-alias%3Daps" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Wrench on Amazon</a></strong></div>
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<strong><a href="http://search.filmtools.com/search?keywords=crescent+wrench&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Wrench on FilmTools</a></strong></div>
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<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4735.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignleft" height="184" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4735-1024x682.jpg" style="border: 0px; float: left; margin: 5px 24px 20px 0px;" title="IMG_4735" width="270" /></a></strong>Multitool (Leatherman)<strong><br /></strong></h3>
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Leatherman is just about industry standard. Feel free to purchase a lower end multitool if you don’t want to spend too much, but be sure it can do everything you need.</div>
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<strong><strong><a href="http://www.amazon.com/mn/search/?_encoding=UTF8&tag=how0a85-20&linkCode=ur2&camp=1789&creative=390957&field-keywords=multitool&url=search-alias%3Daps&sprefix=multitool%2Caps%2C134" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Multi tools on Amazon</a></strong></strong></div>
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<strong><a href="http://search.filmtools.com/search?keywords=leatherman&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Multi tools on FilmTools</a></strong></div>
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Screw Driver<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4770.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignright" height="192" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4770-1024x682.jpg" style="border: 0px; float: right; margin: 5px 0px 20px 24px;" title="IMG_4770" width="267" /></a></strong></h3>
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You might be doing rewiring, or god knows what on set. Picquics are the best because you can put the bit in a drill.</div>
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<strong><a href="http://www.amazon.com/mn/search/?_encoding=UTF8&scn=553336&keywords=screwdriver&tag=how0a85-20&linkCode=ur2&qid=1339996703&h=eb01809d6ece48bc4a7d1607652aa5d0fec40396&camp=1789&creative=390957&rh=n%3A553336%2Ck%3Ascrewdriver" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Screw Driver on Amazon</a></strong></div>
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<strong><a href="http://search.filmtools.com/search?keywords=screw+driver&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Screw Driver on Filmtools</a></strong></div>
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<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4765.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignleft" height="175" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4765-1024x682.jpg" style="border: 0px; float: left; margin: 5px 24px 20px 0px;" title="IMG_4765" width="261" /></a></strong>Knife</h3>
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You’ll be using a knife everyday on set, so be sure to get some extra blades for it. Be careful though, they are razor sharp!</div>
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<strong><a href="http://www.amazon.com/mn/search/?_encoding=UTF8&keywords=olfa%20knife&tag=how0a85-20&linkCode=ur2&qid=1339998506&camp=1789&creative=390957&rh=i%3Aaps%2Ck%3Aolfa%20knife" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Knife on Amazon</a></strong></div>
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<strong><a href="http://search.filmtools.com/search?keywords=knife&catalog=cinemasupplies&go.x=0&go.y=0" style="color: #ff7300; outline: none 0px; text-decoration: none;">Knife on FilmTools</a></strong></div>
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A Line Tester/<a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4751.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignright" height="203" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4751-1024x682.jpg" style="border: 0px; float: right; margin: 5px 0px 20px 24px;" title="IMG_4751" width="297" /></a>Circuit Tester</h3>
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A line tester will show if a wire has a current flowing through it. Great for quick trouble shooting. A circuit tester plugs in to an Edison and tells you if its hot, it will also let you know if the ground is correct and polarization. Spend a little extra and get one with the GFCI tester built-in. A must have for every Gaffer.</div>
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<a href="http://www.amazon.com/exec/obidos/ASIN/B000EJ332O/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;"><strong>Line Tester</strong> <strong>on Amazon</strong></a></div>
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<a href="http://www.amazon.com/exec/obidos/ASIN/B002LZTKIU/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;"><strong>Circuit Tester on Amazon</strong></a></div>
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<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4760.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignleft" height="199" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4760-1024x682.jpg" style="border: 0px; float: left; margin: 5px 24px 20px 0px;" title="IMG_4760" width="282" /></a></strong>Clothes Pegs</h3>
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C-47s, Clothes Pegs, bullets, what ever you call them. Did you know you can pull one apart and use for very tiny precise leveling or flip them backwards (<a href="http://howtofilmschool.com/wp-content/uploads/2012/01/c74.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">c-74</a>) and use them to pull scrims out of lights? Pay a little more and get the heavy-duty ones, it’s worth it.</div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B002BWUJ1U/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">C-47 <strong>on Amazon</strong></a></strong></div>
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<strong><a href="http://www.filmtools.com/diamond-large-hardwood-clothes-pins.html" style="color: #ff7300; outline: none 0px; text-decoration: none;">C-47 FilmTools</a></strong></div>
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Cube Tap<a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4756.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignright" height="187" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4756-1024x682.jpg" style="border: 0px; float: right; margin: 5px 0px 20px 24px;" title="IMG_4756" width="275" /></a></h3>
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Used to split a line of AC into 3 U-grounds, these are extremely handy. Stay under 15amps though, you don’t want to melt it! Package trucks will carry these, but it doesn’t mean you shouldn’t have some with you at all times. Label them with your name or initials, but be sure to collect them at the end of the day.</div>
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<strong><a href="http://www.amazon.com/mn/search/?_encoding=UTF8&camp=1789&creative=390957&field-keywords=cube%20tap&linkCode=ur2&tag=how0a85-20&url=search-alias%3Daps" style="color: #ff7300; outline: none 0px; text-decoration: none;" target="_blank">Cube Taps on Amazon</a></strong></div>
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<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4757.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignleft" height="187" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4757-1024x682.jpg" style="border: 0px; float: left; margin: 5px 24px 20px 0px;" title="IMG_4757" width="275" /></a></strong>A Viewing Glass</h3>
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Not completely necessary to be a 3rd or daily, but very handy for a gaffer when aiming a light of trying to spot the suns position on a day exterior. If such an item is out of your budget a fantastic solution is a welder’s glass.</div>
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<strong><strong><a href="http://www.amazon.com/exec/obidos/ASIN/B0047FBGGQ/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Viewing Glass on Amazon</a></strong></strong></div>
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2 inch black paper tape<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4764.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="alignright" height="183" src="http://howtofilmschool.com/wp-content/uploads/2012/07/IMG_4764-1024x682.jpg" style="border: 0px; float: right; margin: 5px 0px 20px 24px;" title="IMG_4764" width="272" /></a></strong></h3>
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It didn’t make the main list of bonus because it is considered an expandable and is usually provided on most jobs. Clothes pegs are also an expandable, but they are so important to the job that they had to make the main list.</div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B000QDNVX4/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Black 2inch Paper Tape on Amazon</a></strong></div>
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<strong><a href="http://howtofilmschool.com/wp-content/uploads/2012/03/413yHgB9YBL.jpg" style="color: #ff7300; outline: none 0px; text-decoration: none;"><img alt="" class="wp-image-4473 alignleft" height="198" src="http://howtofilmschool.com/wp-content/uploads/2012/03/413yHgB9YBL.jpg" style="border: 0px; float: left; margin: 5px 24px 20px 0px;" title="413yHgB9YBL" width="198" /></a></strong>Light Meter</h3>
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Not all DOPs will ask their gaffer to take meter readings for them, but it’s great to have if you need to make sure a light is at a certain intensity, match exposures after replacing a fixture or even if the DOPs personal meter fails.</div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B00007E89K/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Sekonic L-358 Light Meter on Amazon</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=how0a85-20&l=as2&o=1&a=B00007E89K" style="border: none !important; margin: 0px !important;" width="1" /></strong></div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B0010SJYBC/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Sekonic L-398A Light Meter on Amazon</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=how0a85-20&l=as2&o=1&a=B0010SJYBC" style="border: none !important; margin: 0px !important;" width="1" /></strong></div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B000M3CCTM/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">Sekonic L-758Cine Light Meter on Amazon.com</a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=how0a85-20&l=as2&o=1&a=B000M3CCTM" style="border: none !important; margin: 0px !important;" width="1" /></strong></div>
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<strong><a href="http://www.amazon.com/exec/obidos/ASIN/B0098HGNFM/how0a85-20" style="color: #ff7300; outline: none 0px; text-decoration: none;">The New Sekonic 401-479 LITEMASTER PRO L-478DR on Amazon</a></strong></div>
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<span style="color: #ff6600;">Prep & Production Meetings</span></h3>
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Sometimes the Gaffer & Best Boy will be given a couple of days or even weeks of prep for the project. This time is needed to do several things that will make your life easier while on the project.</div>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Read the script! </strong>Take notes and highlight any questions, concerns, lighting ques or effects! I can’t stress it enough, read the thing and reread as necessary. Ideally you would read it before the tech scout, but that might not always be possible. What I like to do if I can: read before scout, read after scout when doing more prep and then I like to reread the pages we are shooting the night before shooting or morning of.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Watch any look references given to you by the cinematographer or anything the Director and Cinematographer are discussing.</strong> Sometimes the director might have a particular film or scene in mind or the cinematographer might want specific scenes to have a certain look. Part of your job as the gaffer is to help them meet these looks, so be sure to brush up on anything that is a look reference.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Further discuss lighting approach with the Cinematographer.</strong> Based on your tech scouts, look references and script reading have further discussions with the DOP. Discuss the look and feel of the film and scenes individually. Feel free to make overhead diagrams as necessary.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Attend any necessary production meetings. </strong>This is your chance to bring up any concerns and further discuss things. You will usually go over the entire schedule and discuss every day of shooting with all the keys present. Bring up anything that is a concern to you, discuss extra time for cable runs, more man power, special rigging, anything that you think will make your life on the day easier or anything production or other departments need to be aware of.</li>
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<span style="color: #ff6600;">The Tech Scout</span></h3>
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Tech Scouting is a very important process for any department in the prep stage for a project, especially lighting. it is very important that the gaffer attends all tech scouts. The tech scout is your opportunity to get an idea of how and where the scenes will play out, ask questions and coordinate with other departments or crew members.</div>
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As a gaffer and best boy electric there are some very specific things you need to look out for during your tech scout.</div>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Discuss lighting approach with the DOP. Make diagrams, lists and take notes as needed</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Make equipment lists or make sure package truck lists meet your needs</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Figure out cable runs & find safe places for 4As, diefs etc.</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Determine genny and/or truck placement</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Special Equipment requirements & Discuss rigging requirements, including lights, special stands, scaffolding, aerial lifts etc.</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Equipment staging area</li>
<li style="margin: 0px; padding: 0px; vertical-align: baseline;">Potential sun locations. Will the sun be blasting in through a certain window all morning?</li>
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<span style="color: #ff6600;">On Set as a Gaffer</span></h3>
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When you arrive on set for your first day of shooting make sure you’re a little early. Being there 10-15 minutes before call time is something you should always aim for as a crew member, but I think this is especially important on day one. Instead of 10-15 aim for 20-30, introduce yourself around, have breakfast and get ready for what will usually be a very tough and stressful day.</div>
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If you happen to have a pre-call get a crack on your cable run right away, usually the genny op would have begun it and powered the other departments that need it, but you’ll definitely need to get power to the set and near any exterior fixtures, so get going.</div>
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When call time hits, report to the Cinematographer while the people under you are running cable and/or pulling fixtures. If possible have them quietly work through the blocking.</div>
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There will either be a blocking right away or up to an hour after call. If it doesn’t happen right away get back to work, if it does here’s what to look out for:</div>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Actors movements.</strong> This will give you a good idea of where you’ll need to light. Based on the actors movements you’ll get a good idea if you have to move any lights outside and where the key light might end up.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Watching for any problems that may arise.</strong> Are the actors stacked weirdly? Super close to each other of far back? Will one actor shadow another? ETC.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Safe places to run cable or hide cable.</strong> You might get lucky and be able to use set dressing to hide cable. If necessary and you have no other option you can ask Art Department to help you hide some cable.</li>
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<li style="margin: 0px; padding: 0px; vertical-align: baseline;"><strong>Existing practica Lampsl.</strong> I love practicals and so do a lot of DOP’s. Look out for them, sometimes the art department will just put them out because they look nice. Get them powered, throw in a bulb and put a dimmer on it. Even if it doesn’t get used, it’s still great to have it ready for when the DOP suddenly decides they want it on.</li>
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When the blocking is done discuss the lighting with the cinematographer. Delegate their instructions and start lighting the scene. When the scene is lit there should be a rehearsal before you begin shooting (block, light, rehearse, tweak, shoot). Watch the rehearsal and make any necessary changes to the lighting. When they begin to roll be sure to watch the takes if possible. Keep an eye out for anything bad or something you think the DOP won’t like. Sometimes you’ll notice something that was overlooked.</div>
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<strong>Example:</strong> The actor leaves the room and there is no light hitting them from the other side as they walk through the door. The next scene takes place in a bright room, so they should be walking into some sort of light source.</div>
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If you know your DOP well enough call for the light you think they would like over the walkie (if you have one) and ask the DOP if they want it as your guys are bringing it over. If they say “no” you can cancel the order, but if they says “yes” it’s already flying in.</div>
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This is touchy, but if you have a decent relationship with the DOP and are unable to get their ear to ask, just set it up, turn it on and ask what they think. If they hate it they’ll tell you, if they like it you’re a hero.</div>
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I hope this post helps all the aspiring gaffers out there, I know I wish I had a resource like this when I was first starting off. Being a gaffer is an amazing job, it can be incredibly stressful, but with that stress comes a lot of gratification. Enjoy.</div>
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CREDIT TO : howtofilmschool.com</div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com0tag:blogger.com,1999:blog-922364999464079375.post-36175043736894899722013-03-30T06:39:00.000-07:002013-03-30T06:42:14.710-07:00Free Call Sheet & Film Production Documents<br />
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Check out our free film production documents. The call sheet template, script breakdown sheet, expense report, daily production report, personal release, location release, crew contact list, cast contact list and continuity log are free for download!</div>
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<strong>KEEP IN MIND THAT WE MAKE A SMALL PERCENTAGE OF EACH AT NO EXTRA COST TO YOU. THIS MONEY GOES TOWARD SERVER COSTS, WEBSITE UPDATES AND MORE.</strong></div>
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Free Film Production Documents:</h2>
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Call Sheet Template:</h3>
<div style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin-bottom: 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
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<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=Mi5ob3RsaW5r" rel="2" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Call Sheet Template.doc">Call Sheet Template.doc</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=My5ob3RsaW5r" rel="3" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Call Sheet Template.docx">Call Sheet Template.docx</a><span class="btn_right" style="display: block;"> </span></div>
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Script Breakdown Sheet:</h3>
<div style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin-bottom: 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
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<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=NC5ob3RsaW5r" rel="4" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Breakdown Sheet.DOC">Breakdown Sheet.doc</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=NS5ob3RsaW5r" rel="5" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Breakdown Sheet.DOCX">Breakdown Sheet.DOCX</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="clear" style="clear: both; margin: 0px; padding: 0px; vertical-align: baseline;">
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Expense Report:</h3>
<div style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin-bottom: 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
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<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=Ni5ob3RsaW5r" rel="6" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Expense Report.XLSX">Expense Report.XLSX</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=Ny5ob3RsaW5r" rel="7" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Expense Report.XLS">Expense Report.XLS</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="clear" style="clear: both; margin: 0px; padding: 0px; vertical-align: baseline;">
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Daily Production Report:</h3>
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<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=MTAuaG90bGluaw==" rel="10" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Daily Production Report.DOC">Daily Production Report.DOC</a><span class="btn_right" style="display: block;"> </span></div>
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<div class="wpdm_file wpdm-only-button" id="wpdm_file_11" style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=MTEuaG90bGluaw==" rel="11" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Daily Production Report.DOCX">Daily Production Report.DOCX</a><span class="btn_right" style="display: block;"> </span></div>
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Personal Release</h3>
<div style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin-bottom: 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
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<div class="wpdm_file wpdm-only-button" id="wpdm_file_12" style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
<div class="btn_outer" style="-webkit-transition: border-color 0.218s; background-image: -webkit-gradient(linear, 0% 40%, 0% 70%, from(rgb(245, 245, 245)), to(rgb(241, 241, 241))); border-bottom-left-radius: 2px; border-bottom-right-radius: 2px; border-top-left-radius: 2px; border-top-right-radius: 2px; border: 1px solid rgb(220, 220, 220); color: #6e6e6e; display: inline-block; float: left; font-family: Helvetica, Arial, sans-serif; font-weight: bold; line-height: normal; margin: 5px 10px 0px 0px; padding: 4px 12px 4px 3px; position: relative; text-shadow: rgb(255, 255, 255) 0px 1px 0px; vertical-align: baseline;">
<div class="btn_outer_c" style="background-image: url(http://howtofilmschool.com/wp-content/plugins/download-manager/icon/download.png); background-position: 2px 50%; background-repeat: no-repeat no-repeat; margin: 0px; min-height: 30px; padding: 2px 0px 0px 40px; vertical-align: middle;">
<a class="btn_left " href="http://howtofilmschool.com/?wpdmact=process&did=MTIuaG90bGluaw==" rel="12" style="color: black; display: block; margin-right: 5px; outline: none 0px; text-decoration: none;" title="Personal Release PDF">Personal Release PDF</a><span class="btn_right" style="display: block;"> </span></div>
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<h3 style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 22px; font-weight: normal; line-height: 29px; margin: 0px 0px 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
Location Release</h3>
<div style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin-bottom: 20px; padding: 0px; text-align: center; vertical-align: baseline; word-spacing: 1px;">
</div>
<div class="wpdm_file wpdm-only-button" id="wpdm_file_13" style="background-color: white; color: #1a1a1a; font-family: Verdana, Geneva, Tahoma, sans-serif; font-size: 12px; line-height: 20px; margin: 0px; padding: 0px; vertical-align: baseline; word-spacing: 1px;">
<div class="cont" style="border-bottom-left-radius: 3px; border-bottom-right-radius: 3px; font-size: 9pt; margin: 0px; padding: 5px 10px; vertical-align: baseline;">
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Crew Contact List</h3>
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Continuity Log</h3>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-34180262967952966022013-03-30T06:08:00.001-07:002013-03-30T06:09:06.673-07:0010 Things Inexperienced Cinematographers do that Annoys the Rest of the Crew<br />
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No one is perfect and we all make mistakes on set, but there are some things that cinematographers do that drive the crew crazy!</div>
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Let’s talk about some of the most common things that Cinematographers do on set that tends to drive their crew crazy.</div>
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Things Cinematographers do That the Crew Hates:</h3>
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<span style="color: #ff6600;">1. Re Lighting Every Shot</span></h3>
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It has always bothered me when DOPs do this. Not because I don’t want to do the extra work, but because it’s a waste of time and in a lot of cases the lighting will not match.</div>
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Once things are set in the master shot, is it actually necessary to change everything around completely?</div>
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Tweaks, cheats, additions or subtractions make sense, but I have experienced Cinematographers that literally swap out every single light for something else.</div>
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Do not waste the crews time, think about all your coverage while you are lighting your master shot and then make decisions based on that.</div>
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DO NOT tackle each shot individually.</div>
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<span style="color: #ff6600;">2. Asking for Every Toy</span></h3>
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This one isn’t so bad for the technicians on set since we love to play with toys, <a href="http://howtofilmschool.com/film-production/" style="color: #ff7300; outline: none 0px; text-decoration: none;">but the production team will hate you</a>.</div>
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Inexperienced DOPs will ask for absolutely everything as if they can’t make a scene work without all the fancy gear.</div>
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It is the truly talented and professional Cinematographers that understand what tools they need to aid in the telling of the story and make their decisions based on that.</div>
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<span style="color: #ff6600;">3. Setting up Lighting or Grip Gear</span></h3>
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It is one thing to help out when things are going nuts and the technicians desperately need a hand, but I have worked with DOPs that will just walk away from the camera and just start randomly setting up a light as if it’s no big deal.</div>
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<strong>Why Is This Annoying?</strong></div>
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<strong>1.</strong> It is just not your job, plain and simple. <a href="http://howtofilmschool.com/grip-lighting-technician/" style="color: #ff7300; outline: none 0px; text-decoration: none;">The lighting technicians are paid to do this</a>, the cinematographer is paid to direct those technicians.</div>
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<strong>2.</strong> Chances are you are going to set up that piece of gear incorrectly which a tech will then have to correct. This wastes everyone’s time and the technicians will resent you.</div>
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<strong>3</strong>. If something goes wrong with that piece of gear who do you think everyone will assume is to blame?</div>
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Don’t be one of those Cinematographers, allow your crew to do their jobs.</div>
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<span style="color: #ff6600;">4. Not Communicating Their Goal</span></h3>
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The more experience you gain as a technician the less you will need to be walked through things. You will just know what needs to happen and why things are being asked of you.</div>
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At the start of your career it can be quite frustrating though.</div>
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Often times on smaller sets the DOP and/or AD will decide that a crew blocking is unnecessary or a waste of time (don’t get me started on how moronic that is, but it happens).</div>
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Because of this many DOPs will just call out positions of lights and technicians will be left having no idea what these lights are doing and what you are trying to achieve.</div>
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This very frustrating and in many cases causes the technicians to hate working for certain DOPs.</div>
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<span style="color: #ff6600;">5. Talking Down to PAs or Inexperienced Technicians</span></h3>
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<a href="http://howtofilmschool.com/how-to-film-schools-guide-to-film-set-etiquette/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="HowToFilmSchool’s Guide to Film Set Etiquette">This is just bad set etiquette in general</a>, but it happens often.</div>
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There definitely is a certain amount of hazing that happens to new people on film sets, but it is all in good fun.</div>
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What isn’t cool is when people <a href="http://howtofilmschool.com/working-as-a-production-assistant/" style="color: #ff7300; outline: none 0px; text-decoration: none;">treat Production Assistants like they are useless</a>, or expendable.</div>
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That PA can be producing a project a couple of years later and they sure as hell will remember you yelling at them or embarrassing them in front of the whole crew.</div>
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I myself have been guilty of this, but not to the extent of some people.</div>
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I have witnessed someone make a PA cry! Later that same production assistant was questioning whether or not they wanted to continue a career in the film industry.</div>
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<span style="color: #ff6600;">6. Using the Wrong Tool for the Job</span></h3>
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There are some recurring jokes in the lighting technician word. I never really thought much about them until I sat down to write this post.</div>
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<strong>The Joke:</strong><em> What do you call a light with two doubles and a single in it?</em></div>
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<strong>Answer: </strong><em>The Wrong Light.</em></div>
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Personally I don’t believe in that joke. I’m a firm believer in using bigger light sources scrimmed down, just in case you end up doing high speed.</div>
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That brings up a good point though. Use the right tool for the job! I have been asked to do some pretty odd things in my time and it can get very frustrating.</div>
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Some situations require a source 4 over a fresnel or a book light over a diffused kino flo.</div>
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Study the gear and know what tools you will need to achieve the look you are going for. It is your job!</div>
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<span style="color: #ff6600;">7. Asking the Wrong Person to do Something</span></h3>
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This one drives me crazy!</div>
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Occasionally I will work with someone who has no regard for job roles or just doesn’t know any better and will constantly ask people to do things they have no business doing.</div>
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It is ignorant, insulting and can make the set a very dangerous place.</div>
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I have had <a href="http://howtofilmschool.com/working-as-a-key-grip/" style="color: #ff7300; outline: none 0px; text-decoration: none;">DOPs ask the Key Grip</a> to run power for something while I’m standing three feet away from them.</div>
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I might have been busy at that moment, but it is still my responsibility and when something goes wrong, a cable is in shot or a breaker pops everyone is going to look at me, not the Cinematographer and Key Grip.</div>
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<span style="color: #ff6600;">8. Deciding a Crew Blocking is Unnecessary or a Waste of Time</span></h3>
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<a href="http://howtofilmschool.com/working-as-a-1st-assistant-director/" style="color: #ff7300; outline: none 0px; text-decoration: none;">This one is as much the 1st AD’s fault</a> as it is the Cinematographer, but I see it happen all the time.</div>
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There are very few times where allowing the crew to see a blocking is unnecessary or a time waster and if you think otherwise – you are wrong, plain and simple.</div>
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Technicians need to know what is being seen, not seen and what the planned coverage is. How are we expected to light and run cable if we have no idea what is going on?</div>
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Don’t be an ignorant Cinematographer, there are enough out there already!</div>
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<span style="color: #ff6600;">9. Making Tweaks to Gear with out Letting Anyone Know</span></h3>
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I believe in communication on set, sometimes to a fault.</div>
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People need to know what is going on, what has happened and what will happen.</div>
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Often times if I tweak a light I will let the people under me know what I have done.</div>
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<strong>Why? Think about it like this: </strong>The more information people have the better and faster everyone will work. If several changes are made and no one is aware but the cinematographer, what happens when that cinematographer asks for a light to be reset?</div>
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If they don’t communicate tweaks the technicians will hate working with them because they spend their whole day in a state of confusion and always feeling like they are trying to catch up.</div>
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It is no way to work and build relationships with your crew members.</div>
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<span style="color: #ff6600;">10. Not Being Grateful for People’s Work</span></h3>
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<a href="http://howtofilmschool.com/how-to-film-schools-guide-to-film-set-etiquette/" style="color: #ff7300; outline: none 0px; text-decoration: none;" title="HowToFilmSchool’s Guide to Film Set Etiquette">A big part of set etiquette is just shaking someones hand</a> and thanking them for the work they did for you that day.</div>
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There are hundreds of cinematographers that don’t care about that and actually treat you like you’re a piece of meat. There is this sense of entitlement, like they are the end all be all of film making.</div>
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They are not and neither are you!</div>
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Refferent : howtofilmschool.com</div>
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com0tag:blogger.com,1999:blog-922364999464079375.post-78510719842184684572013-02-20T13:00:00.000-08:002013-02-20T13:00:00.292-08:00BEST ND FILTER<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidwj0YZI5Ylw9iRMAJeZxMPU80vpkGtrDG84DXet33ioaL6rqy9n0kr68CCFGNg9saUnc72v4nuwZNq0nCAFisDjoFhPAe9Zi_TKZLnfXBT56Y2vVVaZpvFf0Z66n1gwJR_-WX2G8xPcP1/s1600/ndfilter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidwj0YZI5Ylw9iRMAJeZxMPU80vpkGtrDG84DXet33ioaL6rqy9n0kr68CCFGNg9saUnc72v4nuwZNq0nCAFisDjoFhPAe9Zi_TKZLnfXBT56Y2vVVaZpvFf0Z66n1gwJR_-WX2G8xPcP1/s640/ndfilter.jpg" width="640" /></a></div>
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What are the best graduated neutral density filters on the market? We take six of the top graduated ND filters on the market and put them to the test to find out.<br />
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As good as modern DSLRs are, point even a Nikon D4 or a Canon EOS 5D Mark III at a high-contrast landscape and you’ll often have to choose between having a washed-out sky or an underexposed foreground in your shot.<br />
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A quick and very effective solution is to use a graduated neutral density filter, or ‘ND grad’.<br />
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Clear at one end and grey at the other, the darker section of a graduated neutral density filter can be positioned to cover a bright sky, restricting light transfer by several stops so the foreground can expose correctly.<br />
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Various densities are available to suit different contrast levels, with many manufacturers offering filter systems consisting of several density grades with hard or soft transitions.<br />
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Hard grads are great if your scene has a straight horizon, but when the landscape is less uniform, the subtle transition of a soft grad will be more forgiving.<br />
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Finally, size matters. The bigger the graduated neutral density filter, the more lens diameters it’ll cover and the greater the flexibility you’ll have in positioning the transition area to suit your photo composition.<br />
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<h3>
Lee Filters Neutral Density Hard Grad Set</h3>
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Price: £180, $240 (+£55 holder; £20-40 per adaptor)<br />
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Lee Filters have gained a reputation for producing high-quality filters, so we tested their 100x150mm graduated neutral density filter set with a hard gradient transition.<br />
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It has three filters of 0.3, 0.6 and 0.9 densities, so at the darkest point you can reduce light transfer by one, two or three stops.<br />
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In testing, the filters produced almost no colour casting, though they restricted slightly less light than other filters of equivalent densities in the group.<br />
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The large 100x150mm size of each filter gives you plenty of room to adjust your compositions.<br />
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However this kit is a serious investment, especially when you add in the cost of the filter holder and a lens adaptor ring.<br />
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Pros… Exceptional quality with no colour casting; versatile size<br />
Cons… Expensive, especially with holder and adaptor rings<br />
We say… Terrific quality, but there are cheaper options<br />
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Score: 3/5<br />
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Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-43377748723979197772013-02-18T13:00:00.000-08:002013-02-18T20:42:26.211-08:00The Story Behind "GANGNAM STYLE" <div class="separator" style="clear: both; text-align: center;">
This story was translate in 'BAHASA MALAYSIA'</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-4GiY-GDcZ8dxBPJsYOMWyc2gdf0UZw0KNOypR4InKr_ZdwYCs9m6mqtGn03j7XUUqpEibLZV0nPsLGDwFr3lQz5H-BrAUcbIqdNPl6xK4iizkh6McrvJhAGdh7y6SlI3CeDB7hvq3Cb/s1600/psy151984364.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf-4GiY-GDcZ8dxBPJsYOMWyc2gdf0UZw0KNOypR4InKr_ZdwYCs9m6mqtGn03j7XUUqpEibLZV0nPsLGDwFr3lQz5H-BrAUcbIqdNPl6xK4iizkh6McrvJhAGdh7y6SlI3CeDB7hvq3Cb/s640/psy151984364.jpg" width="640" /></a></div>
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">KISAH BENAR: SECEBIS CERITA DUKA DARI GANGNAM</span><br />
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">oleh Mohamad Sidik pada pada 7hb Oktober 2012 pukul 12.14 ptg</span><br />
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;">Malam tadi setelah keluar dari masjid seusai selesai solat Isyak di masjid berdekatan dengan rumah, saya berjalan kaki seorang diri</span><span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"> pergi ke sebuah kedai makan untuk makan malam. Pengunjung di kedai makan yang saya tuju itu agak ramai dan boleh dikatakan hampir kebanyakan meja di kedai ter<br />sebut sudah penuh. Saya memilih untuk duduk di salah sebuah meja di bahagian paling hujung seorang diri yang ketika itu tiada orang di meja tersebut. Apabila pelayan datang saya pun memesan makanan yang saya mahu. Selepas beberapa ketika pelayan tersebut pergi datanglah pula seorang gadis muda berkulit cerah berjubah dan bertudung hitam gaya wanita Arab ke meja saya seraya bertanya,<br /><br />"Tuan, boleh saya duduk di sini..? Kamu lihat, tempat-tempat di meja lain semua sudah penuh.."<br /><br />"Oh, ok.. tak mengapa. Silakan duduk.." jawab saya agak terkejut dengan sapaan gadis itu. Perbualan kami dalam bahasa Inggeris.<br /><br />Kemudian pelayan datang kepadanya dan dia hanya memesan 'fresh orange' untuk minuman. Apabila pelayan pergi saya memberanikan diri bertanya kepadanya dengan rasa pelik, "Kamu seorang diri sahaja? Dan kamu kelihatan bukan orang Malaysia, bukan?"<br /><br />Dia mengangkat wajahnya dari telefon pintarnya ke arah saya lalu menjawab dengan tersenyum, "Oh saya dari Korea Selatan, dan saya ingin ke rumah seorang kawan.."<br /><br />"Oh Korea Selatan.. sekarang negara itu sedang 'famous' dengan tarian Gangnam Style.." jawab saya spontan bersahaja sambil tersenyum dan menganguk-angguk sendirian tatkala mata gadis itu kembali ke telefon pintarnya sambil menggerak-gerakkan jarinya di atas skrin sesentuh dan kadangkala dia juga tersenyum seorang diri melayan sesuatu dari telefon pintarnya.<br /><br />"Gangnam Style..? Apa yang kamu tahu tentangnya.. ia tarian yang dilaknat Tuhan. Saya menganggapnya diilhamkan oleh Iblis kepada artis itu." jawabnya dengan nada yang tegas dan berani.<br /><br />"Oh ok ok, minta maaf..saya tak bermaksud menyinggung perasaan kamu.." jawab saya serta-merta.<br />Perbualan terhenti seketika beberapa lama. Selepas kira-kira 15-20 minit pelayan kembali datang dengan membawa pesanan saya dan minuman gadis itu.<br />"Kamu mahu tahu apa yang saya tahu tentang Gangnam?" tanya gadis kembali itu kepada saya.<br /><br />"Jika kamu berminat untuk bercerita kepada saya, saya akan mendengarnya…" jawab saya dengan tenang sambil mula menghirup jus tembikai susu yang saya pesan.<br />"Ok sekejap beberapa minit, selepas saya membalas mesej-mesej ini.." jawabnya sambil jari-jemarinya ligat bermain di dada skrin telefon pintarnya.<br /><br />Saya hanya mengangguk-angguk sambil mengangkat kening dan mula menyuap makanan dengan sudu ke dalam mulut walaupun saya sedar bahawa memakan dengan menggunakan tangan itu lebih menepati Sunnah Rasulullah SAW.<br /><br />"Baik, sekarang saya akan bercerita tentangnya.. ia sesuatu yang menarik tetapi pelik dan menakutkan." kata gadis itu kembali.<br />"Ok, seakan-akan ada satu perkara besar yang kamu ingin sampaikan kepada saya." jawab saya kembali sambil mulut mengunyah nasi.<br /><br />Kemudian dia diam kira-kira sepuluh saat, mengambil nafas lalu memulakan ceritanya kepada saya,<br /><br />"Di Gangnam ada satu pertandingan pelik yang diadakan untuk gadis-gadis muda untuk menjadi perempuan-perempuan simpanan bagi orang-orang kaya dan para jutawan. Kebanyakan gadis muda yang menyertai pertandingan tersebut adalah mereka yang ingin mencuba nasib apabila gagal mendapat tempat dalam pekerjaan atau terlalu teruja untuk menikmati hidup mewah bersama orang-orang kaya… mereka dijanjikan dengan hadiah yang sangat lumayan, kereta mewah, jet peribadi dan rumah besar seperti istana dengan kolam renang jika memenangi pertandingan tersebut."<br /><br />Kemudian dia diam lagi... kali ini dia pula meminum minuman 'fresh orange'.. dia diam dengan agak lama tanpa berkata apa-apa.<br />"Ok, kemudian..?" tukas saya lagi ingin tahu.<br /><br />"Oh, ia sesuatu yang amat dahsyat dan keji dan saya hampir tidak mahu menceritakannya kepada kamu. Tapi saya akan cuba ceritakannya juga agar kamu dapat tahu apa kisah benar yang berlaku.." sambungnya lagi.<br /><br />"Iya, sila sambung lagi... saya memang ingin tahu tentangnya." balas saya lagi.<br />"Ok... Pertandingan itu, untuk sampai ke tempat pertandingan tersebut, para peserta yang terdiri daripada perempuan-perempuan muda yang cantik masing-masing dikehendaki menunggung seekor kuda kira-kira 500 meter dari tempat para peserta berkumpul ke tempat pertandingan yang merupakan sebuah istana besar dan mewah milik seorang jutawan di Gangnam. Kamu bayangkan, mereka semuanya menunggang kuda dengan memakai kasut tumit tinggi, baju jarang dan skirt singkat yang seksi sambil diiringi pihak penganjur pertandingan dengan helikopter.."<br /><br />"Setelah sampai di sana mereka disambut oleh pihak penganjur di istana itu dan dibahagikan kepada dua kumpulan. Setiap kumpulan akan melalui dua laluan yang berbeza. Pertandingannya ialah laluan berhalangan untuk sampai ke destinasi yang terakhir. Ia seperti pertandingan dalam rancangan ‘Wipe Out’ di dalam TV jika kamu pernah melihatnya. Setelah sampai di destinasi terakhir pula, para peserta yang berjaya dari dua kumpulan itu akan bertarung pula sesama sendiri. Jika pihak lawan tewas maka peserta yang masih bertahan akan dianggap sebagai pemenang dan mendapat wang bernilai jutaan USD. Laluan berhalangan itu sangat berbahaya, namun para peserta hanya melakukannya dengan memakai kasut tumit tinggi dan pakaian seksi mereka sambil disaksikan dan disorak oleh para jutawan yang melihat aksi-aksi mereka tersebut dari sebuah ruang balkoni bilik mewah di istana tersebut. Saya tidak pasti ianya dirakam ataupun tidak."<br /><br />Terus-terang, ia adalah pertandingan membunuh diri yang paling gila…"<br />"Ok, kemudian.. apa yang berlaku?" tanya saya mencelah dengan rasa teruja.<br /><br />"Satu ketika di salah satu trek, para peserta dikehendaki memanjat palang-palang besi untuk melintasi salah sebuah menara di istana tersebut, palang tersebut sangat tinggi dan di bawahnya ada kolam renang. Di satu sudut yang lain, para jutawan pula menyaksikan aksi-aksi peserta dari dalam sebuah bilik mewah sambil menikmati hidangan dan minuman arak yang mahal bersama gadis-gadis mereka."<br /><br />"Ramai perserta ketika itu yang terjatuh ke bawah ketika cuba memanjat palang-palang besi tersebut. Ada yang terhempas ke lantai dan kepalanya pecah. Ada yang patah tangan dan kaki. Ada yang pecah badannya. Kolam renang tersebut penuh dengan darah dan ada yang mati lemas ketika jatuh ke dalamnya setelah gagal untuk berenang keluar dari kolam renang yang dalam tersebut. Mereka semua para gadis yang tidak berupaya dan mereka sangat kasihan."<br /><br />"Yang lebih keji daripada itu, mereka yang tercedera ketika itu langsung tidak dibantu.. malah dibiarkan sahaja untuk disorak dan ditertawakan oleh para jutawan yang melihat mereka sepanjang pertandingan. Akhirnya apa yang saya tahu, hanya dua orang gadis sahaja yang berjaya melepasi laluan itu daripada keseluruhan 30 orang gadis yang menyertainya... saya dikhabarkan walaupun dua gadis itu akhirnya berjaya, mereka kini hidup dengan trauma dan penuh ketakutan di sisi para jutawan gila tersebut. Mereka kini hidup seperti hamba di dalam istana zaman purba. Tiada tamadun dan tiada akhlak... hanya menjadi hamba suruhan lelaki-lelaki kaya yang merantai hidup mereka sahaja. Lebih malang lagi gadis-gadis yang sudah terjerumus ke sana tidak boleh lari daripada golongan kaya gila itu. Jika cuba untuk lari kemungkinan mereka akan dibunuh."<br /><br />Sampai di sini tiba-tiba gadis itu sebak... wajahnya berubah dan air matanya serta-merta mengalir laju dan menangis teresak-esak.<br />Saya sudah tentu sangat terkejut dengan perubahannya secara tiba-tiba itu, dan cuba memujuknya,<br /><br />"Hey, please don't cry here… people will look to us. Please calm down. I'm sorry so much to make you telling me this story…" kata saya kepadanya perlahan dengan suara hampir berbisik.<br /><br />Namun saya membiarkannya dengan keadaannya itu untuk beberapa ketika. Kemudian saya berkata kepadanya, "Saya tak tahu apa sebenarnya yang membuatkan kamu menangis, tapi saya minta maaf banyak-banyak kerana disebabkan saya kamu menangis. Sebenarnya saya sangat terkejut mendengar cerita kamu. Ia sesuatu yang sangat dahsyat yang belum pernah saya mendengarnya sebelum ini.."<br /><br />Ia ok... ia ok... ia ok... (sambil mengesat air matanya dengan sapu tangan miliknya)... maafkan saya kerana tiba-tiba bersikap pelik tadi. Kamu tahu, salah seorang gadis yang mati kerana pecah badannya ketika jatuh di pinggir lantai kolam renang itu ialah adik perempuan saya sendiri... Ibu saya membunuh diri kerananya dan bapa saya menjadi gila. Setelah ibu saya membunuh diri bapa saya sakit selama berbulan-bulan lalu akhirnya meninggal dunia."<br /><br />Pada waktu ini dia kembali diam beberapa minit… saya pula tergumam dan tidak terkata apa-apa… setelah itu dia menarik nafasnya dalam-dalam lalu menyambung kembali kisahnya,<br /><br />"Ibu-bapa saya hanya memiliki dua orang anak perempuan dan adik saya sudah menjadi mangsa kepada nafsu gila orang-orang kaya Korea."<br /><br />"Sejurus selepas tamat pertandingan tersebut, saya dihubungi seorang wanita yang memberitahu bahawa adik saya telah pengsan dan cedera parah kerana kemalangan dan saya dikehendaki ke hospital untuk melihatnya. Wanita itu menyatakan dia mendapat nombor telefon saya daripada adik saya. Apabila saya dan ibu-bapa saya tiba ke hospital, kami dikhabarkan adik saya telahpun meninggal dunia. Saya memarahi wanita tersebut dan mendesaknya bertubi-tubi untuk menceritakan kisah sebenar kepada saya... dan akhirnya selepas beberapa hari dia menceritakan keseluruhan kisah ini kepada saya. Setelah tahu kisah sebenar, kami sekeluarga meraung dan menangis macam orang gila kerana tidak pernah menyangka adik saya sanggup menyertai pertandingan gila tersebut hanya untuk hidup mewah sebagai gadis simpanan orang-orang kaya. Namun wanita itu berkata ia adalah pilihan adik saya sendiri."<br /><br />"Beberapa minggu kemudian ibu saya membunuh diri pada satu malam dengan menelan aspirin sebanyak 200 biji. Keesokan harinya ibu saya koma dan apabila saya dan bapa menghantarnya ke hospital, pada malam harinya dia meninggal dunia. Bapa saya pula selepas itu sakit jiwa sebelum mengalami sakit tenat yang membawanya meninggal dunia. Saya pula hidup tidak menentu dan mujurlah masih mempunyai seorang sahabat wanita beragama Islam yang terus berjuang agar saya dapat meneruskan kehidupan dengan tabah. Berulang-ulang kali dia mengingatkan kepada saya bahawa kehidupan ini adalah anugerah Tuhan dan orang yang beriman tidak akan berputus asa."<br /><br />"Dan kerana itu saya melihat kamu kini sebagai seorang Muslimah..?" saya mencelah ceritanya.<br /><br />"Alhamdulillah, terima kasih kepada Tuhan. Sahabat saya itu telah membawa saya berjumpa dengan seorang imam di bandar Seoul untuk memulihkan semangat hidup saya. Imam itu mula bercerita kepada saya tentang Allah, Islam dan Nabi Muhammad. Saya menerima segala ajarannya dengan lapang hati seakan-akan ia satu-satunya pilihan yang ada. Benar, Islam adalah satu cahaya yang sangat terang seperti matahari dan mendamaikan seperti bulan purnama yang kembali menyuluh seluruh hidup saya dan saya terus berubah kepada agama ini tanpa ragu-ragu. Dan kamu tahu tak, jiwa saya berasa sangat-sangat tenang dan damai ketika mendengar ayat-ayat Al-Quran yang berkumandang di ibu pejabat markaz Islam di bandar Seoul. Imam itu salah seorang ahli pengurusnya. Saya tidak pernah mendengar muzik-muzik yang sangat indah seperti ayat-ayat Al-Quran sebelum ini dalam hidup saya."<br /><br />Kini suara gadis itu kembali gagah seraya berkata, "Alhamdulillah, saya bersyukur kerana diselamatkan Tuhan dan kembali dihidupkan semula sebagai seorang Islam setelah saya kehilangan segala-galanya akibat kekeringan jiwa masyarakat dunia terutama masyarakat Korea yang hidup sesat tanpa agama. Mereka semua telah sesat tanpa panduan hidup yang benar daripada Tuhan."<br /><br />Setelah itu dia diam dan meminum minumannya...<br /><br />"Kisah kamu amat menarik tetapi menakutkan. Adakah kamu sudah mengambil tindakan undang-undang bagi pihak adik kamu, atau melaporkannya kepada media atau berbuat sesuatu?" ujar saya kembali kepadanya.<br /><br />"Lupakan sahajalah, saya sudah melaporkannya kepada pihak polis, sudah menceritakannya kepada beberapa orang wartawan dan melaporkannya secara bersumpah kepada beberapa orang peguam. Pihak polis enggan melakukan pendakwaan kerana tiada bukti-bukti yang kukuh mengenainya. Tiada video dan tiada saksi-saksi lain yang mahu tampil kepada pihak berkuasa selain saya. Mungkin ada namun ia tidak memadai. Wanita yang membawa adik saya ke hospital itu juga sudah menghilangkan diri. Saya cuba menghubungi nombor telefon bimbitnya berali-kali namun dia tidak dapat dihubungi. Kali terakhir saya mendengar tentangnya melalui seorang peguam yang mendapat khabarnya daripada seorang detektif polis ialah dia sudah meninggal dunia akibat kemalangan. Para peguam lain dan wartawan yang saya ceritakan kisah ini kepada mereka kesemuanya telah diugut untuk tidak mendedahkannya kepada umum. Mungkin begitu juga yang terjadi kepada mangsa-mangsa yang lain. Laporan polis di sana pula menyatakan gadis-gadis yang meninggal dunia akibat cedera parah itu adalah kerana rabung palang-palang besi di istana itu roboh ke bawah ketika mereka semua sedang berada di atasnya kerana ketika pihak polis sampai di sana palang-palang besi itu sudah pun dirobohkan. Manakala mangsa-mangsa yang masih hidup setelah kecederaan masih mengalami trauma yang dahsyat dan ada yang cacat seumur hidup walaupun mereka mendapat bayaran ganti rugi insurans yang banyak. Apa yang saya tahu mereka semuanya diugut akan dibunuh jika mendedahkan peristiwa sebenar kepada pihak polis. Yang pasti di sana wujud monster-monster besar yang menutupi kes ini termasuk menteri-menteri kerajaan… ia berkaitan dengan wang dan kuasa. Dan sudah tentu kamu tahu apa yang wang dan kuasa boleh buat pada kita." jawabnya lagi dengan panjang lebar yang sarat dengan hujah.<br /><br />"Oh, ok... ianya sesuatu yang gila pernah saya dengar. Jadi sekarang berapa umur kamu dan mengapa kamu berada di Malaysia? Dan... apa yang kamu sedang buat di Malaysia sekarang? Dan lagi… bilakah peristiwa sedih itu berlaku?" tanya saya bertubi-tubi kepadanya dengan rasa ingin lebih tahu.<br /><br />"Kamu agak saya berumur berapa…?"<br />"Saya tidak mahu mengagak dan saya tidak tahu berapa umur kamu."<br /><br />"Kisah sedih itu hanya berlaku pada tahun lepas, dan saya tidak mahu sebut apa bulan dan harinya. Cukuplah kamu tahu ia berlaku pada tahun lepas. Kini saya berumur 29 tahun dan saya di berada di Malaysia kerana ingin cuba mendaftar kursus bahasa Arab di ******* University dengan sahabat wanita Muslimah saya dari Korea itu. Tadi saya bertemu-janji dengannya untuk bertemu di sini. Kami rakan serumah dan dia tadi menziarahi rakan kami orang Malaysia di kawasan ini. Saya sampai ke sini lewat sedikit dengan teksi.” jawabnya berterus-terang dengan nada jujur.<br /><br />"Oh, kamu sungguh berani. Di Malaysia tidak ramai wanita yang berani naik teksi seorang diri pada waktu malam. Terima kasih kerana menceritakan kisah ini kepada saya.. saya amat menghargainya dan mudah-mudahan suatu hari Allah akan membalas dendam untuk kamu dan mangsa-mangsa lain yang telah teraniaya..." kata saya lagi kepadanya sambil mengangguk-angguk.<br /><br />"Sudah tentu...! Suatu hari nanti semua orang dan dunia akan tahu mengenai kejahatan tersembunyi di bandar Gangnam yang dilaknat itu!" tukasnya dengan nada yang keras.<br />"Kamu ingat artis yang mecipta lagu Gangnam gila itu menyukai cara hidup bandar Gangnam..? Saya rasa dia amat sinis tentangnya dan dia pernah berasa tertekan dengan cara hidup di sana.. namun kini dia sudah menjadi sebahagian daripada mereka. Semoga Tuhan melaknat mereka semua. Saya menyerahkan kepada Tuhan untuk membalas segala kejahatan mereka."<br /><br />"Whoa... kamu nampaknya sangat marah dengan Gangnam..." balas saya sambil mengangkat kedua-dua kening dan menyedut jus tembikai susu yang masih berbaki menggunakan straw.<br />"Oh, jangan kamu berpura-pura seperti tiada perasaan dan tidak mempunyai perikemanusiaan.." balasnya pantas kepada saya.<br />"Tidak, tidak... saya benar-benar terkejut dan simpati dengan kisah kamu. Bahkan di sebalik itu, saya dapat melihat kamu seorang yang tabah, kuat dan berani." balas saya kembali untuk menenangkannya.<br />"Oh ya, adakah kamu datang sini dengan biaya sendiri? Bagaimana dengan suami kamu dan kerjaya kamu di Korea?" tanya saya kepadanya dengan meneka-neka.<br /><br />"Hahaha, saya masih belum bersuami dan saya telah menjual segala apa yang saya ada di Korea untuk datang ke sini. Saya mahu belajar bahasa Arab di sini dan merancang mahu ke Mesir atau ke Islamic Center di Chicago selepas ini untuk belajar lebih banyak tentang Islam di sana. Kamu juga tahu, Timur Tengah kini tidak stabil dan saya masih ragu-ragu untuk ke Timur Tengah. Imam yang mengislamkan saya itu pernah memberitahu saya bahawa dahulunya dia belajar bahasa Arab dan agama Islam di Syria di sebuah universiti yang namanya An-Nur." jawabnya dengan reaksi yang kembali ceria sambil tersenyum.<br /><br />"Oh dulu saya juga pernah belajar di Syria, dan universiti itu namanya Universiti Abu Nur." jawab saya.<br />"Oh benarkah? Ceritakan kepada saya tentang Syria... saya bertuah bertemu dengan kamu." tukasnya teruja dengan muka yang sangat gembira.<br /><br />Sesampainya di sini perbualan kami mula bertukar topik kepada isu Syria dan pergolakan di Timur Tengah serta topik-topik lain yang sudah tiada kena-mengena dengan Gangnam. Saya juga bercerita sedikit sebanyak tentang latar belakang diri saya kepadanya sebagai membalas kisah hidupnya yang telah dia ceritakan kepada saya.<br /><br />Lama juga kami bersembang sejak jam 9.00 malam tadi. Kira-kira jam 10.30 malam rakan gadis itu datang ke kawasan kedai tersebut dan gadis itu meminta izin untuk pergi. Dia membayar segala pesanan makanan saya dan memperkenalkan dirinya sebagai Sofiyyah dan rakannya bernama Nadiah. Katanya nama mereka berdua diberikan oleh imam yang mengislamkan mereka di bandar Seoul merangkap guru murabbi mereka di Korea Selatan. Saya pula beruntung kerana makan malam saya ada orang belanja.<br /><br />Kedua-dua mereka pernah lahir sebagai manusia yang tidak pernah menganut sebarang agama di Korea namun kini Allah telah memuliakan mereka dengan agama Islam yang suci. Saya tidak tahu sejauh mana kebenaran cerita Sofiyyah tentang kisah yang berlaku kepada adiknya di Gangnam. Kebenaran kisah tersebut saya serahkannya bulat-bulat kepada Allah. Namun saya berminat untuk kongsikan kisah ini kepada para pembaca agar para pembaca dapat membuat penilaian sendiri. Kisah tersebut mungkin benar dan mungkin tidak benar. Namun, di sebalik kisah yang saya pindahkan daripada Sofiyyah ini, dapatlah kita mengetahui sesuatu dan menjadikannya sebagai pengajaran.<br /><br />Apa yang saya suka kongsi satu iktibarnya ialah, saya melihat betapa Sofiyyah amat bersyukur dan menghargai nikmat Islam yang dikurniakan Allah kepadanya. Dia sanggup meninggalkan negerinya dan menjual segala hartanya demi mempelajari bahasa Arab di bumi Malaysia bagi memahami Al-Quran, malah dia bercita-cita untuk terus mengembara bagi mempelajari ilmu-ilmu Islam dan menjadi seorang pendakwah Muslimah di negara Korea untuk Islamkan lebih ramai penduduk Korea. Dia seorang yang amat berani, tabah dan cekal. Lihat saja, bagaimana dia seorang diri berani menyapa seorang lelaki asing seperti saya di awal kisah tadi. Apa yang saya lihat padanya, tiada sebarang ketakutan di dalam dirinya dan harapan hidupnya telah seratus-peratus diserahkan kepada Allah. Dia telah menjual seluruh jiwa dan raganya hanya kepada Allah semata-mata. Di sebalik kekuatan dirinya sekarang, saya juga yakin di belakangnya ada seorang murabbi mursyid yang hebat, iaitu sang imam yang telah mengislamkannya. Biasanya di sebalik orang-orang yang hebat, di belakang mereka sudah tentu ada para pendidik yang jauh lebih hebat lagi. Di dalam hati saya berkata sudah tentu peribadi sang imam itu lebih hebat lagi kerana berjaya membaiki diri Sofiyyah menjadi lebih kuat sepertimana sekarang. Ia bukanlah sesuatu yang mudah untuk memulihkan, mendidik dan membangunkan jiwa manusia yang sudah rosak teruk seperti Sofiyyah dan menjadikannya seorang srikandi yang gagah perkasa jiwanya.<br /><br />Sepanjang berjalan kaki pulang ke rumah, saya banyak tertanya-tanya di dalam hati betapa kita ini begitu leka dan tidak bersyukur dengan nikmat beragama Islam yang telah Allah anugerahkan kepada kita sejak kita dilahirkan ke alam dunia.<br /><br />Di dalam hati saya sepanjang pulang, "Allahu Rabbi.... alhmdulillah, alhamdulillah, alhamdulillah." Sambil kaki saya sekali-sekala menyepak batu-batu kecil di jalanan dan kedua-dua tangan dimasukkan ke dalam poket jubah putih kiri dan kanan seraya muka menunduk ke arah tanah...<br /><br />Sehingga saat ini saya masih tetap berfikir sendirian, kisah Sofiyyah ini ialah apa yang saya dengar berlaku di negara Korea yang maju.. bagaimana pula dengan kisah-kisah gelap seperti kisah gadis-gadis Melayu Islam yang menjadi pelacur kelas atasan di negara kita. Sudah tentu banyak juga kisah-kisah gelap yang tidak pernah kita dengar tentang mereka. Sebelum ini saya pernah juga mendengar mengenai kisah-kisah kongsi gelap di negara kita yang dilindungi oleh orang-orang besar.<br /><br />Allahu Allah, betapa teruknya manusia menjadi hamba wang dan kuasa pada zaman ini... Ya Allah, selamatkanlah kami di dunia dan di akhirat...<br /><br />[Kisah benar ini selesai ditulis semula pada: hari Ahad, 07 Oktober 2012, 10.55 AM]<br /><br /><br />-yk-<br /><a data-hovercard="/ajax/hovercard/page.php?id=128784097272060&extragetparams=%7B%22group_id%22%3A0%7D" href="https://www.facebook.com/BerilahCahayaKepadakuYaAllah?group_id=0" style="color: #3b5998; cursor: pointer; text-decoration: initial;">Berilah Cahaya kepadaku Ya Allah.</a></span><br />
<br />Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-21845568583831566472013-02-17T13:00:00.000-08:002013-02-17T09:59:06.112-08:00Menindas dan ditindas<div class="separator" style="clear: both; text-align: center;">
Sambungan Dari post '<a href="http://kekatubasah.blogspot.com/2013/02/permulaan-perjalanan.html">Permulaan Perjalanan</a>'</div>
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Assalamualaikum W.B.T<br />
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Aku memulakan dengan nama Allah S.W.T yang maha pemurah lagi maha pengasihani.<br />
Seperti post aku yang lepas, aku seperti mahu menceritakan sesuatu yang berkait rapat dengan hidupku, iaitu masalah yang aku lalui dan aku pasti orang lain juga mengalaminya. Aku pernah ditindas dan aku juga pernah menindas, oleh itu aku dapat laluinya dengan tenang 'insyaallah'.<br />
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Dulu aku merupakan seorang pelajar di sebuah IPTA yang sangat popular dengan kesenian di <a href="http://en.wikipedia.org/wiki/Malaysia" target="_blank">MALAYSIA</a>. Pada ketika aku disana, aku cukup gembira dan bangga tetapi baru-baru ini aku telah dibuang oleh kerana keegoan pensyarah dan sifat penting diri yang diamalkan didalam organisasi. Manusia kecil seperti aku ini hanya merasa kesannya dan menerima akibat atas sifat-sifat negatif mereka.<br />
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Siapa diantara mereka yang menjadi sebab dan mengapa mereka bersifat demikian....<br />
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<i><b>Bersambung...</b></i>Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-11439360582036305042013-02-17T08:48:00.001-08:002013-02-17T09:57:08.998-08:00Permulaan perjalanan...<div class="separator" style="clear: both; text-align: center;">
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Assalamualaikum W.B.T<br />
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Dengan nama allah yang maha pemurah lagi maha pengasihani, aku memulakan langkahku kali ini dengan lebih lebar dan sabar. Sebelum ini , pelbagai dugaan telah aku lalui dan kini saat dimana aku harus mencari kehidupan sebagai sebenar sebagai manusia.<br />
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Namaku juga identitiku mungkin dikenali oleh sesetengah pihak, namun itu adalah aku yang dulu kini aku memulakan langkahku dengan lafaz BISMILLAH...<br />
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Terima kasih kepada ibuku dan keluarga serta insan yang aku sayangi yang sentiasa menyokong aku walau apa jua dugaan yang menimpa. Terima kasih juga kepada semua sahabat serta rakan-rakan yang sentiasa membantu aku dikala aku memerlukan bantuan, alhamdulillah.<br />
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Kini aku telah ditawarkan untuk bekerjasama dengan seorang insan yang aku anggap sebagai bapa, kerana aku tidak pernah merasa kasih sayang seorang bapa sejak aku berumur 1 tahun. Bapaku meninggal dunia akibat penyakit buah pinggang dan semenjak itu ibuku yang menyara seluruh keluarga aku hinggalah kakak sulong aku mendapat kerja, dan sekarang cuma tinggal aku yang baru mula ingin menapak dalam bidang pekerjaan. Aku mempunyai 4 orang adik beradik , 2 kakak dan seorang abang yang bersama berusaha membantu dan meningkatkan ekonomi keluarga. Kali ini aku mula menapak dalam dunia industri perfileman, projek pertama aku merupakan satu genre yang paling hebat di <a href="http://en.wikipedia.org/wiki/Malaysia" target="_blank">MALAYSIA</a> pada suatu ketika dahulu iaitu '<a href="http://www.finas.gov.my/index.php?mod=vgallery&sub=video&category=5" target="_blank">DOKUMENTARI</a>'. Untuk projek ini aku perlu menjelajah ke seluruh SEMENANJUNG MALAYSIA untuk mencari bahan dan fakta serta lokasi yang sesuai untuk pengambaran nanti, aku juga ditugaskan untuk menyiapkan proposal bagi beberapa projek yang akan datang. Alhamdulillah, aku kini berasa lebih tenang dan gembira dengan kerja aku.<br />
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Walaubagaimanapun hidup mesti ada masalahnya... walaupun aku gembira dengan kerja aku sekarang ini, akan tetapi......<br />
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<i><b> <a href="http://kekatubasah.blogspot.com/2013/02/menindas-dan-ditindas.html"> Bersambung....</a></b></i><br />
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<br />Anonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-19418257092029102742012-04-10T12:47:00.000-07:002012-04-10T12:47:36.451-07:00V-dslr Xtra Class part 2<div class="separator" style="clear: both; text-align: center;"><br />
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</div><div class="separator" style="clear: both; text-align: center;"><b><u>CLIP LENGTH LIMIT</u></b></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://a.img-dpreview.com/news/0909/Canon7d/85_eur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="466" src="http://a.img-dpreview.com/news/0909/Canon7d/85_eur.jpg" width="640" /></a></div><br />
Ramai orang bertanya kepada saya, kenapa bila saya shoot , hanya dapat 12 minit..? kamera saya tak bagus ka?atau dah rosak?<br />
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jawapannya : kamera anda tak rosak pun, dan bukan kamera anda tak bagus, tetapi memang sistem dia direka macam tuh untuk menampung format HD yang anda guna. tapi ada langkah lain yang perlu anda ambil jika mahu merakam lebih dari 12 minit. iaitu dengan meletakkan mode "mute" pada sound recorder. ini boleh mengurangkan penggunaan memori semasa merakam gambar.. kerana sistem direka untuk menampung memory sebanyak 4gb sekali rakam.<br />
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4gb = 12 minit<br />
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* jika ada sebarang pertanyaan, sila email kepada : info.zuwandi@gmail.com<br />
atau add saya di FB : zuwandi razakAnonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.comtag:blogger.com,1999:blog-922364999464079375.post-58942213576475171392012-04-10T12:19:00.000-07:002012-04-10T12:19:53.079-07:00V-dslr Xtra Class<b><u>RESOLUTION</u></b><br />
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Ramai orang yang keliru mengenai <b>RESOLUTION</b> , termasuklah untuk <b>STILL PHOTOGRAPHY</b>.. istilah yang digunakan boleh mengelirukan kita semua , seperti Pixels Per Inch ( <b>PPI</b> ) , Dots Per Inch ( <b>DPI</b> ), dan istilah yang paling popular dikalangan pengeluar atau peniaga kamera iaitu (<b> MEGAPIXEL</b> ).... sedangkan jika difahami istilah-istilah tersebut maka kita akan ketawa dengan sendiri apabila diperbodohkan dengan teknologi dan tektik peniaga menjual barang.. Mitos yang mengatakan gambar lebih SHARP bila menggunakan MEGAPIXEL yang besar adalah tidak betul sebenarnya.. ianya bergantung kepada kita sendiri samada hasil kita itu mahu ditayangkan dimana.. adakah di panggung, tv, youtube atau Projector..<br />
Pada era digital, penggunaan format HD ( HIGH DEFINITION ) makin berleluasa, tapi cuba fahamkan betul-betul dengan maksud sebenar DEFINITION - bagi pengalaman saya sendiri, walaubagaima kita merakam dalam format HD, tetapi selepas kita CONVERT kepada format DVD , saya tak tahu kemana perginya nilai HD itu sebenarnya.. strategi peniaga ini harus diketahui oleh pengguna kamera supaya kita lebih memahami kamera kita dari percaya dengan mitos-mitos karut. Dibawah ini saya sediakan format STANDARD untuk HD..<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09iagRIi-MmTviAtCx6mzG1kYtunSi6moXz14Qe4YUMpVk2EwFPSC7XoEGpSYvl-EWtDPFcEMTLoV-xv3g65Hd5BIdKrQ4HIiF76jCW5nBE28sTvWsJ2IjO0mdeC5wZefpWCAnS2Ci8LL/s1600/resolution_different_hd_standard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj09iagRIi-MmTviAtCx6mzG1kYtunSi6moXz14Qe4YUMpVk2EwFPSC7XoEGpSYvl-EWtDPFcEMTLoV-xv3g65Hd5BIdKrQ4HIiF76jCW5nBE28sTvWsJ2IjO0mdeC5wZefpWCAnS2Ci8LL/s640/resolution_different_hd_standard.jpg" width="640" /></a></div><br />
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Anda boleh menikmati format HD ini jika anda mempunyi TV yang mampu menampung keseluruhan format tersebut ( 1080p ) kerana kebiasaan tv di negara kita MALAYSIA hanya boleh menampung format PAL- the best for STANDARD DEFINITION.. selalunya juga kebanyakan komputer tidak mampu untuk menampung beban HD ini.. jadi anda mempunyai pilihan sendiri untuk menjadikan video anda adalah yang terbaik untuk dipaparkan.<br />
disini saya sediakan sedikit data (frame) untuk dipelajari bersama..<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTqgkCc8lswrspdmIwUbKdmNq6MygNDHOS5jsnRYvrkrgQMVkvv4FHB-S6t0H0EDJgwemzCoQ4-7qhX2NS-O81SoH4tPzvkxKhRccgeNpr3fDhnocyZ_MRq-4bAGdci3DME0VqJOnUmoP/s1600/resolution_frame.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigTqgkCc8lswrspdmIwUbKdmNq6MygNDHOS5jsnRYvrkrgQMVkvv4FHB-S6t0H0EDJgwemzCoQ4-7qhX2NS-O81SoH4tPzvkxKhRccgeNpr3fDhnocyZ_MRq-4bAGdci3DME0VqJOnUmoP/s640/resolution_frame.jpg" width="640" /></a></div><br />
Jika anda faham dengan gambarajah yang diberi, maka anda boleh membuat keputusan untuk menentukan format apa yang patut digunakan. Pastikan anda tahu dimana video anda akan ditayangkan, jika TV maka pastikan TV tersebut mampu menampung format yang anda guna..<br />
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* jika terdapat sebarang pertanyaa , boleh email kepada saya : info.zuwandi@gmail.com<br />
atau ADD saya di FB : zuwandi razakAnonymoushttp://www.blogger.com/profile/05394127594230788510noreply@blogger.com