#filmcredits

[teamivankaye]

2 weeks ago today, Ivan's upcoming dark comedy film 'Apocalypse Clown' had its premiere at the Galway Film Fleadh - and won the Best Irish Film award shortly afterwards. 👌🤡👑 This is the fullest video impression we could find of the cast and crew entering the stage after the screening. Information on credits: An "and" (or "with") credit has greater value than being listed as no. 4. It is used when a higher profile actor who could claim top billing has generously agreed to play a character listed after no. 3 - which happens especially when the main characters are more than 3, like in this film with 5 main characters. In a film, the credit roll at the end, on the other hand, usually has nothing to do with the weight of the characters or the profile of the actors since it is mostly sorted either by order of appearance in the film or by alphabet or both if several characters appear at once. Nonetheless, that is the order used by IMDb as they go by the end credit roll which is the most complete official list of cast and characters. It is also relevant for how to display the character names on IMDb. New interview snippet with more Alphonso insights coming soon too. Happy weekend! 😊 Featured: #IvanKaye #AmyDeBhrún #NataliePalamides #FionnFoley #PollyannaMcIntosh #GeorgeKane #ShaneOBrien #JamesDean #MárcioWille Rodrigues -- #ApocalypseClown #FlashbackFriday #premiere #GalwayFilmFleadh #moviepremiere #filmcredits

[jeanlrr]

Now that the movie is finally out I can share my credits!!! THERE I AM!! MY FIRST MOVIE CREDIT!! I remember when I was in university, watching the first trailer for this film and I was so happy... Miles Morales is my favourite Spiderman- other than silk, and seeing a POC spiderman in a film was an amazing feature! I wss blessed to be have this as my first industry job. And I was able to thank the directors personally for all the doors they have opened. I want to thank everyone who was here by my side through the journey, and all the wonderful beautiful people I've meet at SONY! PLEASE GO WATCH THE FILM!!!! Everyone worked endless hours on this film and it is truly a great film! 😍 Also thanks to @cyclebot @staceyagustino for watching the film and sending me picture! If anyone else have photos please send them to me!!! I hope you enjoy the film! #spiderman #milesmorales #spidermanintothespiderverse #sonyimageworks #animation #filmcredits #productions #peterporker #peniparker #spidernoir #spidergwen (at Sony Imageworks) https://www.instagram.com/p/BrYAIYRnwy4/?utm_source=ig_tumblr_share&igshid=16lqx1xq4ora9

[mobilemoviemaking]

Superimposed Credits In the early days, opening film credits were generally simple—just words on a solid background. But by the 1930s and 1940s films often featured visually interesting titles. For example, with “Sinbad the Sailor” (1947), the credits were spelled out with what seemed to be water in a fountain. While Woody Allen preferred the retro style—white type on black—for those wishing to be more adventurous, contemporary apps make it easy to incorporate the title into the story. The example here is from “Working at Home,” an amusing two-minute mini-doc by Jon Gill (@Playfulcommunications). You can see “Working at Home”—which is the current Mobile Movie of the Week—at MobileMovieMaking (link in profile). You’ll also find behind-the-scenes notes from the filmmaker. #mobilemoviemaking #filmcredits #titlesequence #mobilemovieoftheweek #mini-doc #workingathome https://www.instagram.com/p/Cdvt1QYLobk/?igshid=NGJjMDIxMWI=

[fxj8760]

Jessica Hische x Wes Anderson for Moonrise Kingdom, 2012.

Hische was hired by Anderson to design the type for the opening and end credits. Initially the direction was based on an Edwardian script by Ed Benguiat, but shifted toward a hand-hewn design loosely referencing titles from a film by Claude Chabrol. 

Hische designed two fonts—a display and a text weight of the same typeface. 

[sharonfacinelliactress]

@imdb #filmography #film #filmcredits #sothishappened #equityactress #filmactress #keepingbusy #watchthisspace @imdbpro #cast #britishfilm #britishfilmactress #2020release https://www.instagram.com/p/B8rnlCagiic/?igshid=k4v6gk07szgo

[raphaelbbittencourt]

Wanna know all the names behind the multi-awarded production of BID? Check the film’s IMDB page for complete credits and much more. (https://www.imdb.com/title/tt6156016) . . . . . #filmcredits #shortfilmbid #featurefilmbid #filmproducer #filmdirector #raphaelbittencourt #rapphotodesign #award #filmfestival #netflix #hulu #amazonstudios #hollywood #curitiba #parana #brasil #brazil #independent #caa (at Los Angeles, California) https://www.instagram.com/p/B6-DgzFl5xs/?igshid=1n9jghvbu0ccj

[louisalefrancois]

Bittersweet #pride rushed over me last night at the 🦁👑 #Crew #Screening. As a #technological showcase, this is proof that #VFX crew should be praised for both #innovation and artistry. As a film, it should never have been made. As a project, this has been one of the hardest I’ve ever managed but did it anyway coz I had the best crew. As we reunited and watched our names rolling up the credits, emotions ran high as this 2-years long and trying journey finally drew to an end... 🎬🎥📽🎟🎉 #Disney #TheLionKing2019 #filmcredits #film #production #LionKing #movie #TeamPrevis #TeamLayout #TeamCrowd #IMAX #Cineworld #TheEmpire #theatre #LeicesterSquare #London #UK #Hollywood #silverscreen #moviemagic #behindthescreen #productioncrew #proud #hardwork (at London, United Kingdom) https://www.instagram.com/p/B0EbgBtlY2P/?igshid=lsn0yxo5qhjr

[gertao]

Made my day. #costumes #design #wardrobe #ladypreneur #filmcredits #lovelive https://www.instagram.com/p/Byx7c_vAVpX/?igshid=19ardx97ddmwb

[andrebannenberg]

*Ik kende Yvi niet zo goed. Zij was de moeder van onder andere Barbara, mijn broer Pieters vrouw. Altijd een zeer vriendelijke dame, ondanks alle MS-toestanden waar ze mee te kampen had in haar rolstoel.

*En nog een dierbare, die overleed: Jan Vrijman. Zijn films, waaraan ik meehielp als opnameleider, zijn voor mij nog steeds de meest memorabele. Een saaie wasmiddelcommercial vergeet je natuurlijk sneller als een film over sociale werkplaatsen of over 100 jaar Rijksmuseum.

*

*Fred Petri belde op vanuit zijn huis in Oud-Loosdrecht: een leuke filmklus kwam er aan voor ons tweeën. Fred als cameraman en ik als interviewer. In opdracht van zijn buurman twee dorpen verderop, Zadelhoff de vastgoedhandelaar. Die nodigde om de zoveel tijd op zijn immense landgoed bij Breukelen de Zuid-Amerikaanse polo-wereld uit om een paar potjes te komen spelen. Paarden, jockeys, zadels, de hele mikmak werd vanuit Argentinië op Schiphol binnengevlogen. En de heer Zadelhoff wilde daar wel eens een filmpje van.

Chique feesttenten werden al dagen van tevoren in de weilanden op het Zadelhoff-domein opgezet door tientallen decorbouwers. Dit was serieus. Dit was niet camping Bakkum.

Onwaarschijnlijk uitgebreide catering voor de rijke genodigden werd voorbereid. En niet op plastic bordjes.

Op de grote dag, dat de polowedstrijden zouden worden gespeeld, kabbelde het opgewonden publiek rond het middaguur binnen voor een eerste glas welkomstchampagne. De meeste dames droegen volgens de traditie stevig (doch luxe) schoeisel om in pauzes tussen de wedstrijden het door paardenhoeven geteisterde grasveld weer bij elkaar te stampen: prachtig filmmateriaal natuurlijk, van die hele dure mantelpakjes in het weiland aan het rondtrappelen. Fred en ik hadden ogen en oren tekort. Prachtdag. Leuke Spaanse babbels met de Argentijnse staljongens.

*

*Met Mick, Coco, Jur en Lili spaarden we maandenlang centen, stuivers, dubbeltjes, kwartjes en guldens uit elk jaar vanaf 1950 want die zouden binnenkort verdwijnen met de komst van de euro; ik wou eigenlijk starten vanaf mijn geboortejaar 1949, maar toen zijn er geen munten geslagen. Dat sparen lukte goed: we betaalden altijd in de winkels met briefjes van 5 en 10 gulden, dan kreeg je lekker veel muntgeld terug, maar de munten die ontbraken vroegen we aan de luisteraars van Radio Noord-Holland. Succesvol. Natuurlijk heb ik ze allemaal nog, een ordner vol met plastic inlegvellen voor de verscheidene munten.

*Niet lang hierna had ik profijt van mijn nieuwe filmcredit, die ik was gaan gebruiken: Japan Consultant voor film en televisie. Eddy Terstall van Jordaan Film vroeg om raad voor een in Japan te draaien film van zijn hand, 'Rent-a-Friend'. Nou graag, zeg het maar, wawilluwete en wanneer gaan we erheen?

Wordt vervolgd.

[wetprods]

In the coming weeks I will be trolling around town for free food, venue and Funk/Latin band for a Spring Affair Fundraising Party for my film! Tax deductible and film credit!#awoundintimethefilm #fundraiser #indiefilm #thestruggleisreal #eastharlem #elbarrio #spanishharlem #puertoricanfood #cubanfood #italianfood #soulfood #westindianfood #rumba #salsa #disco #house #funk #openbar #filmcredit #taxdeductible (at East Harlem) https://www.instagram.com/p/BtcMkU1A88B/?utm_source=ig_tumblr_share&igshid=sqd18xcy9lbz

[n3actes]

This is a low-res preview version of the end credit roll for Exigence--the Cine Paris logo and signature chord theme would appear right after this... #film #filmmaking #featurefilm #brandingforactors #filmmusic #filmcredits https://www.instagram.com/p/Bpeq7RrHAGP/?utm_source=ig_tumblr_share&igshid=1x9m2c7pdyjj

[chrislodymusic]

I’ve been doing a bit of soundtrack work recently, the director was good enough to let me share this. Looking forward to more of this work as it’s great fun 😁 #filmsoundtrack #filmscore #composer #chrislody #originalscore #moviesoundtrack #moviescore #mediacomposer #filmcredits #moviecredits #shortfilm #filmmusic #moviemusic (at Boston, Lincolnshire, United Kingdom) https://www.instagram.com/p/Bo2GH3wgDoi/?utm_source=ig_tumblr_share&igshid=ip47d5gqbpcg

[charleslin]

Second film credit! #fzdfilm #fzdfilms #animalworld #filmcredit #filmcredits #charleslin (at Singapore)

[anishortfilms]

Credited As: Stop Motion Animator

STOP MOTION ANIMATION

STOP MOTION ANIMATION

HOW STOP MOTION ANIMATION WORKS DIRECT FROM THE STUDIO LIFE

Alderson: I DIDN'T ALWAYS WANT TO BE A STOP-MOTION ANIMATOR. I THOUGHT I WAS GONNA BE A LIVE-ACTION FILMMAKER. YOU JUST GET BITTEN BY SOME KIND OF BUG. AND ONCE YOU'VE DECIDED THAT THAT'S WHAT YOU WANT TO DO, YOU JUST KIND OF HEAD OFF IN THAT DIRECTION! A STOP-MOTION ANIMATOR, ESPECIALLY IN REGARDS TO FILM, IS KIND OF LIKE A TRANSLATOR. OUR JOB IS TO EMBODY THE CHARACTERS WITH LIFE TO TELL THE STORY THAT WE'VE BEEN BROUGHT HERE TO DO. I'M CURRENTLY WORKING ON "KUBO AND THE TWO STRINGS." I'VE BEEN SHOOTING FOR 14 MONTHS NOW, AND WE'VE GOT ABOUT ANOTHER FOUR OR FIVE MONTHS LEFT. THESE ARE THE BIG BOARDS. THESE HAVE GOT THE SCHEDULE FOR THE FILM FROM WHERE WE ARE TODAY RIGHT UP UNTIL THE END. SO, WE'LL COME THROUGH AND WE'LL TALK WITH JARED ABOUT WHAT OUR PATH IS FOR THE FOLLOWING WEEK.SO, WE'VE GOT 6 DAYS IN THERE FOR 250 FRAMES. SO THAT'S 43 FRAMES A DAY FOR LITTLE HANZO? YEAH. YEP. Bumgarner IS THAT OKAY?  THAT FEELS GOOD. YEP. THE THING THAT'S EASY TO FORGET IS THAT IT'S NOT JUST DAN -- IT'S DAN PLUS 30 OTHER ANIMATORS OUT THERE. SO THIS IS REALLY -- THIS IS LIKE A GIANT PUZZLE. IF ONE PIECE MOVES, IT TRICKLES DOWN. Alderson: IT'S LIKE THE WHOLE ORCHESTRATION OF THE FILM -IS HERE..YEAH. Alderson ...AND JARED'S CONDUCTING. SO, THE START OF THE PROCESS KIND OF -- IT BEGINS WITH AN EDIT SESSION FOR ME, IN WHICH I'LL SIT DOWN WITH THE EDITOR AND THE DIRECTOR, AND WE'LL GO THROUGH THE SPECIFICS OF THE SHOT THAT I'LL BE WORKING ON. Knight: SO HE COMES FROM THE SHROUD OF THE FOREST INTO THE SUNLIGHT HERE IN THE CEMETERY. AND SO I THINK YOU JUST WANT HIM TO HAVE THIS NICE NATURAL GAIT, MAYBE, YOU KNOW, 14, 16 FRAMES A STEP. AND THEN AS HE LIFTS HIS HEAD UP AND HE SEES THE CROWD AND WHAT THEY'RE DOING, I THINK YOU WANT JUST A LITTLE BIT OF A FALTERING IN THE WAY HE'S WALKING. Alderson: WE TRY AND KEEP ANIMATORS WORKING ON A SEQUENCE SO THAT WE KIND OF OWN THE FLOW OF IT, SO WE KNOW WHAT'S HAPPENING WITH THE CHARACTERS, WHERE IT SITS IN THE STORY, AND HOW IT ALL KIND OF RELATES TO THE BIGGER PICTURE. PART OF THE PROCESS AFTER WE'VE BEEN GIVEN THE DIRECTION IS -- AS AN ANIMATOR, IT'S NICE TO HAVE SOME REFERENCE. WE'LL COME OUT AND WE'LL FILM US PERFORMING A PIECE OF ACTING OR A PHYSICAL ACTION JUST SO WE HAVE SOME KIND OF VISUAL REFERENCE SO WE CAN KIND OF WORK OUT WHEN WE GO INTO A SHOT EXACTLY HOW WE'RE GONNA APPROACH IT. IT'S ABOUT JUST SEEING WHAT KIND OF THINGS WE CAN GATHER. AND EVEN ON THE MOST SIMPLE SHOTS, YOU CAN GET SOMETHING IN THERE THAT JUST KIND OF BOLSTERS THE SHOT UP. IT KIND OF GIVES IT A LITTLE BIT OF NUANCE AND A BIT OF EXTRA DETAIL. SO, ONCE I'VE KIND OF GOT THAT INFORMATION, THEN I WILL GO TO PUPPETS AND WILL DETERMINE IF RIGGING'S REQUIRED, WHAT KIND OF COSTUME CHANGES, ADAPTATIONS WILL BE NEEDED. WE NEED HIS SHAMISEN ON THE BACK. SO WE NEED TO OPEN UP THIS BACK RIGGING POINT. I'M GONNA NEED SOME SUPER-SUBTLE EYE MOVEMENT ON THIS ONE, AND I'M FINDING THE TOP LID IS STICKING A LITTLE TOO MUCH. I'M NOT GETTING THAT NICE TWIST THERE. FOR EXAMPLE, TO HELP HIM WALK DOWN THE STAIRS, EVERY NOW AND THEN, HE'LL NEED HELP SUPPORTING HIS WEIGHT, SO HE'LL NEED A RIGGING JUST TO HELP HIM ALONG. -HE'S GONNA NEED BUM RIG. -Weinberg: OKAY. Alderson: AND HE'S WALKING ON PRETTY FLAT GROUND, SO "X," "Y," AND "Z" WINDER AND MAYBE A TRACK. SO, JUST GETTING IT TO A PLACE WHERE I CAN START THE PROCESS. -HIS ARM'S TOO LOOSE. -Smalley-Ramsdale: OKAY. WE'VE BEEN WORKING TOGETHER FOR MANY YEARS, SO YOU DO KIND OF GET USED TO THE ANIMATORS AND HOW DIFFERENT ANIMATORS LIKE THEIR PUPPET TO BE TENSIONED. !!musiC@!!!musiC@! Weinberg: OKAY, GIVE THAT A FEEL REAL QUICK BEFORE I PUT IT IN THERE. Alderson: SO, ONCE THE RIGGING AND THE COSTUME AND EVERYTHING'S KIND OF READY, THEN I WILL TAKE THE PUPPET WITH THE RIGGER, AND WE'LL GET HIM SETTLED INTO FRAME, WORKING WITH CAMERA, WORKING ON POSITIONS, MAKING SURE IT FITS WITH THE ANIMATIC AND THE SHOT'S GONNA LOOK AS IT'S SUPPOSED TO. Werner: HOLLY TO NIKKI. Nikki: HEY, HOLLY. Werner: NIKKI, WE'RE READY FOR FINALS ON YELLOW FIVE. Alderson: ONCE WE'VE KIND OF FINALIZED THE SHOT, THEN WE GET ALL THE TEAMS TOGETHER TO KIND OF MAKE EVERYTHING LOOK ABSOLUTELY THE BEST THAT IT CAN BE, BECAUSE THE FINAL SHOT IS ESSENTIALLY A PERFORMANCE. AND ONCE WE START DOING IT, THEN WE'RE USUALLY IN THE ZONE UNTIL THE END OF THE SHOT. THAT'S THE MOMENT -- JUST BEFORE YOU LAUNCH -- THAT YOU GET TO CHANGE ANYTHING AND PRETTIFY EVERYTHING. AND THEN THE CURTAINS CLOSE AND YOU'RE KIND OF LEFT ON YOUR OWN. THAT'S THE TIME TO JUST KIND OF SHUT EVERYTHING OFF AND GET ON WITH IT. WHICH IS THE BEST PART. SHOWING THERE'S, LIKE, AN INTERNAL PROCESS HAPPENING WITHIN THIS KIND OF BIT OF PLASTIC, THERE'S SOMETHING IN THERE THAT MAKES YOU STOP AND THINK THERE'S A PERSON HERE, THINKING AND FEELING. IF YOU'RE WALKING, YOU KNOW, THE FEET HAVE TO BE IN THE RIGHT PLACE, THE HIPS HAVE TO BE IN THE RIGHT PLACE. THE TORSO HAS TO BE TWISTING IN THE RIGHT WAY. OTHERWISE, IT DOESN'T LOOK RIGHT. WE ALL KNOW WHAT SOMEBODY WHO'S WALKING LOOKS LIKE. YOU KNOW IF IT'S WRONG. THIS IS AN X-SHEET, OR A DOPE SHEET. AND IT'S BASICALLY SHOWING ON THE LEFT SIDE THE FRAME NUMBER SO WE CAN WORK OUT EXACTLY WHAT'S GONNA HAPPEN IN OUR SHOT. IF A CHARACTER'S WALKING, WE CAN MARK EXACTLY WHEN THE STEPS ARE SUPPOSED TO HAPPEN. BUT MORE IMPORTANTLY, IT'S USED FOR DIALOGUE. SO THE FACIAL ANIMATION WILL BE WORKED OUT BEFOREHAND, 3D-PRINTED. AND THIS WILL TELL US EXACTLY WHERE WE'RE SUPPOSED TO CHANGE THE FACE SHAPE. WE TAKE THAT IMAGE, WHICH PUTS IT NEXT TO THE FIRST ONE AS I'M SLOWLY BUILDING UP A SHOT. IT'S HUGELY TECHNICAL IN TERMS OF FIGURING OUT WHAT YOU'RE GONNA DO IN WORKING WITH ALL THE DEPARTMENTS. BUT FOR ME, I THINK A GOOD ANIMATOR IS SOMEBODY WHO JUST HITS THE EMOTION OF WHAT YOU'RE DOING PROPERLY. THAT'S THE MOST IMPORTANT THING IN TERMS OF TELLING A STORY. Knight: ALL RIGHT, SO... WHAT DO WE GOT HERE?  IT'S BASICALLY -- IT'S BRINGING THEM TO LIFE. IT'S SHOWING CHARACTERS BEING ALIVE AND SHOWING A CONNECTION OR THOUGHT PROCESS, AS WELL. Knight: IT'S PERFECT. IT'S EXACTLY WHAT I WANTED. Alderson FROM WHEN I FIRST STARTED ANIMATING, PEOPLE HAVE ALWAYS SAID THAT MY WORK HAS AN EMOTIVE QUALITY TO IT, SO PEOPLE RESPOND TO IT. THEY ACTUALLY FEEL LIKE THEY UNDERSTAND WHAT THE CHARACTER'S GOING THROUGH. AND SO BEING GIVEN THE OPPORTUNITY TO DO THAT IS THE MOST SATISFYING THING. !!musiC@!!!musiC@!. As found on Youtube STOP MOTION ANIMATION  SOME BEST SHORT FILMS Read the full article

[christopherianhowell]

What would we do without films on long haul flights. Talk to each other?! 😅 • • • #film #films #movie #movies #longhaul #losangeles #london #ux #design #sunrise #boeing #boeing787 #vsco #vscocam #vscogram #vscogood #abstract #abstractart #dark #moody #fujixseries #fujixt20 #filmcredits (at Atlantic Ocean)