Technical Film and TV for Nontechnical People introduces film students, actors, producers and other nontechnical film people to the technical aspects that everyone working on a film set should know. Author Drew Campbell is a lighting and sound designer for Universal Studios who started out in theater and who was struck by the complex technical procedures and idiosyncratic expressions that he encountered on his first weeks on the set. Topics explained: Who does what on a film set: the roles of technical and non-technical team members Seeing a script: turning a story into a storyboard and then into a production Shooting on film or video: when each format is best used The parts of a camera: how it functions and how actors can best cooperate with it Sound: the process of recording and editing Shooting: the geography and schedule of a set and "getting the shot" Postproduction: editing, continuity, and the dailies

Drawing the Line: Technical Hand Drafting for Film and Television is the essential resource for students and aspiring professionals studying and working in film and television design. The book covers all aspects of scenic drafting by hand – a technique still used in film and television because of its unparalleled emotive and aesthetic qualities. Discover how to draw the iconic scroll of a classical column or learn the difference between Flemish bond and English bond brickwork – it is all here! Other key features include the following: Beautifully illustrated, approachable, step-by-step instructions for every aspect of scenic drafting – specific to film and television; Illustrated explanations of camera lenses, including calculating aspect ratios and projections; Coverage of the four types of drafting projection: isometric, oblique, orthographic and axonometric; A comprehensive glossary of terms, including an illustration of each entry. This beautiful book is clear, accessible, and a must-have for any student aspiring to work in film and television design.

Industriële films worden gezien als een apart filmgenre van de twintigste eeuw. Ze werden geproduceerd en gesponsord door de overheid en grote bedrijven en moesten vooral aan de wensen van de sponsors voldoen, en niet zo zeer aan die van de filmmakers. In de hoogtijdagen werkten er duizenden mensen aan deze industriële films. Zo zijn er vakbladen en filmfestivals ontstaan door samenwerking met grote bedrijven als Shell en AT & T. Daarnaast hebben belangrijke regisseurs, zoals Buster Keaton, John Grierson en Alain Resnais, aan deze films meegewerkt. Toch lijkt de industriële film geen spoor te hebben achtergelaten in het filmische culturele discours. Films that Work is het eerste boek waarin de industriële film en zijn opmerkelijke geschiedenis worden onderzocht.