Search


PDF Archive search engine
Last database update: 03 December at 10:55 - Around 76000 files indexed.


Show results per page

Results for «cinematography»:


Total: 45 results - 0.051 seconds

curriculo ingles 100%

Experienced in non-linear and live editing, digital cinematography/ photography and postproduction.

https://www.pdf-archive.com/2014/01/29/curriculo-ingles/

29/01/2014 www.pdf-archive.com

NK Resume May 2014 94%

Cinematography Troubleshooting, Problem Solving &

https://www.pdf-archive.com/2014/05/27/nk-resume-may-2014/

27/05/2014 www.pdf-archive.com

sarah winters resume cv 2017 92%

Cinematography. ... • Global Cinematography Institute, Level 1 Dec.

https://www.pdf-archive.com/2017/04/06/sarah-winters-resume-cv-2017/

05/04/2017 www.pdf-archive.com

Bowstring Studios 81%

Y O U C A N H AV E I T A L L Branded Entertainment Brand Films Commercials Concept Development Animation Promotional Content Behind-the-Scenes Interactive Applications Virtual Reality Reality Television Experiential Recaps Live Broadcasts Aerial Cinematography Underwater Cinematography Commercial Photography Graphic Design Editorial Sound Design &

https://www.pdf-archive.com/2016/09/29/bowstring-studios/

29/09/2016 www.pdf-archive.com

3.1 Creative Projects Handbook FINAL 80%

24 Reading List Cinematography .............................................

https://www.pdf-archive.com/2014/05/16/3-1-creative-projects-handbook-final/

16/05/2014 www.pdf-archive.com

Oscars 2017 Program 79%

Best Picture Arrival Hell or High Water Cinematography Directing Film Editing Production Design Sound Editing Sound Mixing Writing (Adapted Screenplay) Actor in a Supporting Role (Jeff Bridges) Film Editing| Writing (Original Screenplay) RT:

https://www.pdf-archive.com/2017/02/19/oscars-2017-program/

19/02/2017 www.pdf-archive.com

Unit One Filmmaking Bootcamp (9-12) 1 78%

In addition to receiving a crash course on the technical skills required to use a camera and editing software, students will be introduced to key cinematic principles of storytelling, storyboarding, cinematography, copyright and editing.

https://www.pdf-archive.com/2015/01/21/unit-one-filmmaking-bootcamp-9-12-1/

21/01/2015 www.pdf-archive.com

A Nihilistic Observation on Ran 75%

              A Nihilistic Observation on ​ Ran  Lawson Jiang  January 15, 2015  TA: Isabelle Carbonell  Section D (11:45am)        Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,”  Pacific Coast Philology ​ 22 1/2 (1987). Penn State University Press: 29–34, accessed  January 15, 2016, doi:10.2307/1316655.  Hoile compares and evaluates the similarities and differences between Shakespeare’s  King Lear ​ and Kurosawa’s ​ Ran​ . Through comparing the plots of the two epic works, Hoile  thoroughly presents to whom are interested in discovering the relationship between the two  work, such as the character settings and the similar­yet­different plot structure as he points out  that “the test of the three arrows replaces the love­test in King Lear, but it is not equivalent to it”  (p.30). While a majority of the articles found during the research focus on addressing how  Kurosawa’s film is similar to ​ King Lear​  — with detailed analysis of each characters in ​ Ran​  to  their correspondents in ​ King Lear — ​ Hoile brings up something different that makes his work  stands out among the rest of the analytical essays, the cinematography of the film. He, however,  talks about the cinematography with only a sentence commenting that the camera is “an  impassive and literally distant observer” (p.29). Although his comment should include a more  elaborate analysis from the cinematographic aspect, the short comment establishes a brand new  idea that ​ Ran ​ carries a nihilistic tone throughout the entire film. This notion is also addressed in  Roger Ebert’s updated review1  published on his blog in October 1, 2000.  Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1,  2000, http://www.rogerebert.com/reviews/great­movie­ran­1985  The notion of Nihilism brought up by Hoile receives a more detailed and interesting  interpretation in film critic Roger Ebert’s review. Ebert writes:   ​ Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1, 2000,  http://www.rogerebert.com/reviews/great­movie­ran­1985. There are two entries of review by Roger Ebert, the first  was published in 1985 and the updated was in 2000.  1 Lawson Jiang   1    He   [Kurosawa]  uses  several  static  cameras  to  film   the  action, cutting between  them;  because  his cameras  don't  dart  and  whirl,  we  are not  encouraged  to  think of ourselves  as  participants  but  as  gods,  observing,  taking  the  long  view  here  and  then  a  closeup  look.  (One shot,  of  a  man  holding  his  own  severed  arm,  no  doubt  inspired  the similar  shot in Steven Spielberg’s “Saving Private Ryan.”)  Ebert’s observation well matches with Hoile’s view on cinematography; omniscient yet  impassive. Ebert argues that the spectators play the role of witness instead of participant through  static and medium shots. During the five­minutes­long battle sequence, a soldier holding his  mutilated arm serves as one of the example, whereas Taro and Saburo’s sudden deaths after the  two separate battles should be marked as the notable agents representing Kurosawa’s nihilistic  thoughts. Taro, who is on his horse, filmed from a lower angle and placed in the middle of the  frame, is suddenly killed by an arrow. Taro’s sudden death shocks those who presume him to be  the figure of victory after the cruel battle. At the end of the film, Saburo embraces the same  destiny just like his eldest brother — killed by an arrow — when riding the horse with his father,  Hidetora. Hidetora dies of heart attack soon after he discovers his son’s death. To those who are  used to dramatic and the so­called meaningful ending (bad guys fail and die, for example), ​ Ran  ends with a tragic yet boring scene. The bads die, so as the good ones. However, Kurosawa’s  casual depiction of the characters’ deaths should be considered as an astonishing representation  of nihilism. In the nihilistic sense, one should understand and expect that there is no good or bad  nor there is meaningful ending for an individual. Death is not worth to be dramaticized.  Therefore, the constant use of steady, medium shots and the omitting of close­ups in critical  moments (such as the death scene) provide a god­like role to the spectators. Yet, a god­like role  provides a limited perspective to the spectators that lacks the ability to predict what happens  Lawson Jiang   2    next. Instead of predicting what will happen, the spectators can do little but witnessing the  incidents on screen. Though the test of the three arrows emphasizes “the breaking of a bond not  between the father and his sons but the bond between the sons themselves2”, once the bond  between the sons breaks, so does the bond between the father and his sons. Nobody can help but  to watch the whole family collapses all because of the sons’ greed that drives them to divide their  father’s “spoils like dogs tearing at a carcass.” In the end, the nihilistic reading of ​ Ran ​ is a story  about an old lord decides to abdicate which triggers a series of catastrophes, eventually lead to a  chaotic3 dividing and the downfall of his clan.   Mitsuhiro Yoshimoto, ​ Kurosawa: Film Studies and Japanese Cinema (Asia­Pacific : culture,  politics, and society)​  (Durham, NC: Duke University Press, 2000), Chapter 28.   Yoshimoto comments Kurosawa as a “‘magnificent yet tragic genius’ who makes a  gargantuan effort to present dynamic and perfect images on the screen4” due to the “extreme  generalization and abstraction” of ​ Ran​ . Yoshimoto, just like Ebert and Hoile, holds a similar  observation:  The  scarcity  of  close­ups  and  the  extensive  use  of  long  shots  render  even  principal  characters  abstract  figures  and,  by  preventing  the spectators’  identification  with  them,  create  the  sense  of  detachment  that  positions  the  spectators  as  distant  observers  of  a  drama  of  massive  destruction.  Sue,  Jiro’s  wife,  is  supposedly beautiful,  yet without  a  close­up  of  her  face,  the  spectators  are  not  allowed  to  judge  whether  there  is  any   validity in the statement asserting her beauty.   ​ Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,” ​ Pacific Coast Philology  22 1/2 (1987). Penn State University Press: 29–34, accessed January 15, 2016, doi:10.2307/1316655.  Hoile  3  ​ The title of the film, ​ Ran​ , means “chaos” in Japanese.  4  Masumura Yaszo, “Sodai ni shite hiso na tensai,” in Kurosawa Akira shusei, vol 1, 6­26. Originally published in  Kinema junpo, part 2 (May 1974).  2 Lawson Jiang   3    Yoshimoto believes that Kurosawa’s focus on decor and sets “transforms the film into a  transparent surface without any depth… without any illusion of psychological depth.”  Consequently, ​ Ran​ , in his perspective, is a film with mere visual surface that lacks detailed  depiction of the characters. What makes a generic commentary on a film is to comment with a  notion of “in­depth portraying of character(s) makes a good movie,” which is coincidentally  similar to the belief that superhero films ought to be packaged with a dark tone that expose the  superhero’s dark side due to the commercial success of the Dark Knight Trilogy5. The idea of  “darker tone means a more mature plot means a better film” triggers a flood of superhero  productions with a universal tone in recent years, which has formularized the taste of the  audience to appreciate only grimmer films. Similarly, the compulsive belief of determining a  film by only the character depiction eliminates the possibility of reading a film with an  alternative philosophical doctrine. ​ Ran ​ could be less comprehensive in characters as Yoshimoto  notes; however, it is a masterpiece in representing nihilism as it conveys a strong sense of  helplessness of being a mere observer.   Christopher Nolan’s ​ The Dark Knight Trilogy​ , in which consisted of ​ Batman Begins​  (2005), ​ The Dark Knight  (2008), and ​ The Dark Knight Rises ​ (2012), emphasizes the self­exploration and change of Batman (played by  Christian Bale) from an ordinary millionaire to a hero enforcing vigilante justice. The commercial success of the  series establishes a new genre of films; superhero movies. The dark tone of the trilogy, therefore, has been seen and  adapted as a model of superhero movies by the production companies. Superhero movies with darker tone has  become more welcomed in recent years, such as ​ Iron Man 3 ​ (2013), ​ Man of Steel ​ (2013), ​ Captain America: Civil  War​  (2016) and ​ Batman v Superman: Dawn of Justice ​ (2016). Collider’s interview with Russo Brothers on their  upcoming ​ Captain America ​ regarding the tone of the film can be found on YouTube:  https://www.youtube.com/watch?v=­imIj_6uLQ4  5 Lawson Jiang   4 

https://www.pdf-archive.com/2016/04/06/a-nihilistic-observation-on-ran/

06/04/2016 www.pdf-archive.com

ყანჩელი 74%

IP Georgia interviewed the living classic and the author of over 50 film and theatre music on cinematography, music, copyrights and challenges of modern art.

https://www.pdf-archive.com/2014/05/13/untitled-pdf-document/

13/05/2014 www.pdf-archive.com

winters cv 74%

Cinematography BA, ENGLISH LITERATURE Occidental College, Los Angeles Minor:

https://www.pdf-archive.com/2017/10/23/winters-cv/

23/10/2017 www.pdf-archive.com

Diori Cergy - CV 2014 65%

Serpong, Tangerang Selatan +62 821 1209 5848 dioricergy@gmail.com Education 2008 - 2012 BINUS University Bachelor in Computer Science Interactive Multimedia Minor 2005 - 2008 SMAN 2 Tangerang Selatan Page 1 of 5 Diori Cergy Castali • 2014 Technical Proficiency Unity C# 3D Game Programming Adobe After Effects Motion Graphic Cocos2DX C++ 2D Game Programming Adobe Premiere Compositing Adobe Flash Actionscript 3.0 Programming Skeletal Animation Autodesk 3Ds MAX Animation Miscellaneous Game Cinematography Euler Based Movement Music Recording &

https://www.pdf-archive.com/2014/10/06/diori-cergy-cv-2014/

06/10/2014 www.pdf-archive.com

SheaFlynnResume Forever21 65%

(630)-915-2613 Creative and motivated individual with a strong background in photography and cinematography, seeking employment in order to utilize my creativity, entrepreneurial drive, leadership ability, and teamwork skills in a professional environment.

https://www.pdf-archive.com/2015/11/16/sheaflynnresume-forever21/

16/11/2015 www.pdf-archive.com

Watersprite Film Festival Sponsorship 2016 65%

A new award, ‘Filmmaker of the Future’ 
 will be presented in 2016 Film of the Year Fiction Documentary Animation Directing Cinematography Acting Screenplay Editing Sound Editing Original Film Music Filmmaker of the Future (NEW) A DYNAMIC SLATE OF WORKSHOPS &

https://www.pdf-archive.com/2015/11/18/watersprite-film-festival-sponsorship-2016/

18/11/2015 www.pdf-archive.com

Adrian Vaktor Videos 65%

 I  was  given  full  control  over  cinematography  but  worked  closely  with  the   clients  to  edit  the  videos  to  their  desired  result.

https://www.pdf-archive.com/2015/12/06/adrian-vaktor-videos/

06/12/2015 www.pdf-archive.com

ATHENA WHEATON - CURRENT RESUME 65%

Although primarily a video editor, I also have several years of experience in on-set production, cinematography, lighting, and sound design.

https://www.pdf-archive.com/2016/02/01/athena-wheaton-current-resume/

01/02/2016 www.pdf-archive.com

Brochure IH Web 65%

WeB MedIa CONCEPT DEVELOPMENT SCRIPT WRITING PROJECT MANAGEMENT PRODUCTION SERVICES LOCATION SCOUTING CINEMATOGRAPHY SOUND DIRECTION EQUIPMENT RENTAL POST-PRODUCTION If you need to stand out on social media, Internet or TV we are the partners you need our team of sPecIalIZed ProfessIonals can taCKLe any proJeCt.

https://www.pdf-archive.com/2016/04/11/brochure-ih-web/

11/04/2016 www.pdf-archive.com

Oskar Simiłowski English CV 65%

Locksmith ID LOGISTICS SONY (Tillburg, Netherland) Order Picker - Completing orders in stock - Laying of complete orders - Work in the system of voice -quality control, documentation in English 02.2014 - 01.2015 Hessing (Helmond, Netherlands) Operator of production -Production line worker salatek -Cutting vegetables and meat production needs -Caring for Occupational Health -Working at low temperatures -Operator of packaging machines 06.2015 - 02.2016 Boxik-Browar Elbląg, Poland Operator production Employee production of beer Control bottles approved for production Preparation of the finished product to delivery Languages English - advanced Italian - beginner Hobby football, automotive ,cinematography I agree to process my personal data for the recruitment process in accordance with the Law of 29.08.1997.

https://www.pdf-archive.com/2016/09/15/oskar-simi-owski-english-cv/

15/09/2016 www.pdf-archive.com

budget memo 65%

Advanced Cinematography.

https://www.pdf-archive.com/2016/10/22/budget-memo/

22/10/2016 www.pdf-archive.com

Bro-FMSC 65%

Screenplay, Directing, Acting, Cinematography, Production Design, Sound, Music and Editing • Selected Short Films Breakdown (Both local and foreign):

https://www.pdf-archive.com/2017/01/23/bro-fmsc-pdf/

23/01/2017 www.pdf-archive.com

Kenneth Curtis Resume 65%

My passion is cinematography, web and logo design, and photography.

https://www.pdf-archive.com/2017/07/07/kenneth-curtis-resume/

07/07/2017 www.pdf-archive.com

Jakub Jankowski - Resume 65%

Education GRAPHIC DESIGN 09/2009-05/2013 SCHOOL OF FINE ARTS IN LODZ, POLAND Fine Artist - Technician (High school) CINEMATOGRAPHY 10/2014-10/2019 Master of Arts - Master (University) Film Editing, Camera Operating Techniques, Scenario Techniques, Photography, Direction Techniques, History of Art Visual advert, Photography, Sculpture, Painting, History of Art.

https://www.pdf-archive.com/2018/03/21/jakub-jankowski-resume/

21/03/2018 www.pdf-archive.com

Har-Kok-Kit 64%

Led the team in winning many local awards for set design, art direction, TV direction, make-up design, wardrobe design, cinematography for various in-house productions.

https://www.pdf-archive.com/2017/08/14/har-kok-kit/

14/08/2017 www.pdf-archive.com

Uzbekistan SHNK construction norms Строительные нормы Узбекистана ШНК 63%

Cultural centres, theaters, circuses https://gostperevod.com/shnk-4-13-21-06.html SHNK 4.13.22-06 in English - Cinemas https://gostperevod.com/shnk-4-13-22-06.html SHNK 4.13.23-06 in English - Service facilities of cinematography objects.

https://www.pdf-archive.com/2018/06/14/uzbekistan-shnk-construction-norms----/

14/06/2018 www.pdf-archive.com

CV 62%

including print and layout, typography and iconography, with strong photography and cinematography interests.

https://www.pdf-archive.com/2016/02/03/cv/

03/02/2016 www.pdf-archive.com

ArmstrongCheese OscarsBallot 1 62%

A Star Wars Story 13 Hours ORIGINAL SCREENPLAY Hell or High Water La La Land The Lobster Manchester by the Sea 20th Century Women ADAPTED SCREENPLAY Arrival Fences Hidden Figures Lion Moonlight CINEMATOGRAPHY Arrival La La Land Lion Moonlight Silence FILM EDITING Arrival Hacksaw Ridge Hell or High Water La La Land Moonlight VISUAL EFFECTS Deepwater Horizon Doctor Strange The Jungle Book Kubo and the Two Strings Rogue One:

https://www.pdf-archive.com/2017/02/23/armstrongcheese-oscarsballot-1/

23/02/2017 www.pdf-archive.com