FILM & MUSIC PRODUCTION STAGE
818-857-9000
818-917-0355
LA FILM STAGE
P.S.
P.S.
L.A. Film Stage in every step of actually creating a film is carefully designed and planned. A llc company is created and a production office established in our studio control rooms. The film is pre-visualized by the director, and may be storyboarded with the help of illustrators and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accidents.
Storyboard is a visualizing method that create a blueprint of what the shot sequence should be. The visual images are drawn or made by programs such as Photoshop. There may also be a written caption as needed for each shot.
The producer hires a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of hundreds, while a low-budget, independent film may be made by a skeleton crew of eight or nine (or fewer). These are typical crew positions:
The director is primarily responsible for the storytelling, creative decisions and acting of the film.
The unit production manager manages the production budget and production schedule. They also report, on behalf of the production office, to the studio executives or financiers of the film.
The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks. There are several types of AD, each with different responsibilities.
The casting director finds actors to fill the parts in the script. This normally requires that actors audition.
The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location.
The director of photography (DP) is the cinematographer who supervises the photography of the entire film.
The director of audiography (DA) is the audiographer who supervises the audiography of the entire film. For productions in the Western world this role is also known as either sound designer or supervising sound editor.[2]
The production sound mixer is the head of the sound department during the production stage of filmmaking. They record and mix the audio on set - dialogue, presence and sound effects in mono and ambience in stereo.[3][4] They work with the boom operator, Director, DoA, DoP, and First AD.
The sound designer creates the aural conception of the film,[5] working with the supervising sound editor. On some productions the sound designer plays the role of a director of audiography.
The composer creates new music for the film. (usually not until post-production)
The production designer creates the visual conception of the film, working with the art director.[5]
The art director manages the art department, which makes production sets
The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments.
The make up and hair designer works closely with the costume designer in addition to create a certain look for a character.
The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.
The choreographer creates and coordinates the movement and dance - typically for musicals. Some film
Pre-Production
While a X-L.A.Film/Stage. film and video production is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film.
A typical day's shooting begins with the crew arriving on the set/location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take many hours or even days, they are often set up in advance.
The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one.
While the crew prepare their equipment, the actors are wardrobed in their costumes and attend the hair and make-up departments. The actors rehearse the script and blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure:
The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed" when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!". The AD may echo "action" louder on large sets.
A take is over when the director calls "cut!", and camera and sound stop recording. The script supervisor will note any continuity issues and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup," until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on," and the crew will "strike," or dismantle, the set for that scene.
At the end of the day, the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called dailies, and review their work.
With workdays often lasting 14 or 18 hours in remote locations, film production tends to create a team spirit. When the entire film is in the can, or in the compl
Production
Here the video/film is assembled by the video/film editor. The shot film material is edited. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is sought to have a score; sound effects are designed and recorded. Any computer-graphic visual effects are digitally added. Finally, all sound elements are mixed into "stems", which are then married to picture, and the film is fully completed ("locked")
Post-Production
OPENING SPECIAL
CINEMA NEWS
EVENTS & PREMIERS
This is the final stage, where the film is released to cinemas or, occasionally, to consumer media (DVD, VCD, VHS, Blu-ray) or direct download from a provider. The film is duplicated as required and distributed to cinemas for exhibition (screening). Press kits, posters, and other advertising materials are published and the film is advertised and promoted.
Film distributors usually release a film with a launch party, press releases, interviews with the press, press preview screenings, and film festival screenings. Most films have a website. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. The distributor and the production company share profits.
Distribution
FILM STAGES AND RENTAL
LA FILM STAGE FACILITIES
Valley Location
Control Room w/ 6 bay editing Final Cut & Avid
Our film editorsr works with the raw footage, selecting shots and combining them into sequences to create a finished motion picture. Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms like poetry or novel writing. Film editing is often referred to as the "invisible art"[1] because when it is well-practiced, the viewer can become so engaged that he or she is not even aware of the editor's work. On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent sequence. The job of an editor isn’t simply to mechanically put pieces of a film together, cut off film slates, or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film.
Studio A 100 ft Cyclorama wall w/ iron man space lites & crane
Film City's Cycloramas are often used to create the illusion of epic backgrounds by keying onstage. By varying the equipment, intensity, color and patterns used, a lighting designer can achieve many varied looks. A cyclorama can be front lit or, if it is constructed of translucent and seamless material, backlit directly or indirectly with the addition of a white "bounce" drop. To achieve the illusion of extra depth, often desirable if one is re-creating a sky, the cyclorama can be paired with a "sharkstooth scrim" backdrop. A dark or black scrim, by absorbing the extraneous light which is commonly reflected off the floor of the stage from the acting areas, can help the lighting designer achieve deeper colors on the cyclorama. Cycloramas are also often illuminated during dance concerts to match the mood of a song.
Film city's recording facility along with the film-maker places the sound of a human voice (or voices) over images shown on the screen that may or may not be related to the words that are being spoken. Consequently, voice-overs are sometimes used to create ironic counterpoint. Also, sometimes they can be random voices not directly connected to the people seen on the screen. In works of fiction, the voice-over is often by a character reflecting back on his or her past, or by a person external to the story who usually has a more complete knowledge of the events in the film than the other characters.
52 channel Mixing facility for Voice overs and recording
On Location shoots w/ 2 man Director Crane
Studio C photo 4 color paper walls
Studio B white Cyclorama Wall
In House Talk show sets w/ Motion arm Jib
