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Mansa Musa was the ruler of the Mali Empire in West Africa. Details recorded here should be sourced; unknown information is left blank.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
A script supervisor (also called continuity supervisor or script) is a member of a film crew who oversees the continuity of the motion picture including dialogue and action during a scene. The script supervisor may also be called upon to ensure wardrobe, props, set dressing, hair, and makeup are consistent from scene to scene. The script supervisor keeps detailed notes on each take of the scene being filmed. The notes recorded by the script supervisor during the shooting of a scene are used to help the editor cut the scenes together in the order specified in the shooting script. They are also responsible for keeping track of the film production unit's daily progress. The script supervisor credit is typically in the closing credits of a motion picture. The script supervisor is a department head and plays a crucial role in the shooting of a film. It is the script supervisor's job to monitor the camera shots, ensuring the dialogue and action match the corresponding pages of the shooting script. This oversight seeks to maintain coherence between the scenes. The script supervisor is the editor's and writer's representative on set, as well as being the right-hand aide to the director and the director of photography. It is the script supervisor's job to make sure that the film can be cut together after shooting has concluded. In that sense, they back up every department, monitor the script during shooting, and make sure that errors in continuity do not occur that would prevent the film from being able to be compiled smoothly in the editing room. In pre-production, the script supervisor creates a number of reports based on the script, including a one-line continuity synopsis providing basic information on each scene such as the time of day, day in story order, and a one-line synopsis of the scene. These reports are used by various departments in order to determine the most advantageous shot order and ensure that all departments, including production, wardrobe, set dressing, hair and makeup, are in sync in regard to the progression of time within the story. The script supervisor may also time the script, which is of enormous benefit for the director and the producer, and will often attend a table read or read-through with the cast.
Daily call sheet is a filmmaking term for the schedule supervised and crafted by the assistant director, using the director's shot list, the production schedule and other logistics considerations. It is issued to the cast and crew of a film production to inform them of where and when they should report for a particular day of filming, usually no later than 12 hours before the start of the next work day. Call sheets are a vital part of video production. The start of the day's production schedule is marked by a general and individual call times, the time when people are expected to start work on a film set.
Film editing is the creative and technical part of the post-production process of filmmaking in which shots are combined into sequences that create a finished motion picture. The term is derived from the traditional process of working with film stock but now primarily uses digital technology. The film editor works with raw footage to select, process, and structure the recorded images and sound material to give film its final form. Film editing is often referred to as the "invisible art" because when it is well-practiced, the viewer can become so engaged that he or she is not aware of the editor's work. Film editing is described as an art or skill that is unique to cinema, unlike, for example, cinematography or set design. 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 is not 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, and the actors' performances to imagine and the film into a cohesive whole. Editors usually play a dynamic role in the making of a film. An editor must select only the most quality shots, removing unnecessary frames to ensure the shot is clean. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, Steven Soderbergh, and the Coen brothers. According to Film Art: An Introduction, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. The first dimension is the graphic relations between sequential shots. The shots are analyzed in terms of their graphic configurations, including light and dark, lines and shapes, volumes and depths, movement and stasis. The director makes deliberate choices regarding the composition, lighting, color, and movement within each shot, as well as the transitions between them. Techniques used by editors to establish graphic relations between shots include maintaining overall brightness consistency, keeping important elements in the center of the frame, playing with color differences, and creating visual matches or continuities between shots. The second dimension is the rhythmic relationship between sequential shots. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation to each other. Shot duration can be used to create specific effects and emphasize moments in the film. For example, a brief flash of white frames can convey a sudden impact or a violent moment. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. The length of shots can also be used to establish a rhythmic pattern, such as creating a steady beat or gradually slowing down or accelerating the tempo. The third dimension is the spatial relationship between shots. Editing allows the filmmaker to construct film space and imply a relationship between different points in space. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts. For example, the filmmaker can start with a shot that establishes a spatial hole and then follow it with a shot of a part of that space, creating an analytical breakdown. The final dimension that an editor has control over is the temporal relation between shots. Editing plays a crucial role in manipulating the time of action in a film. It allows filmmakers to control the order, duration, and frequency of events, thus shaping the narrative and influencing the audience's perception of time. Through editing, shots can be rearranged, flashbacks and flash-forwards can be employed, and the duration of actions can be compressed or expanded. The main point is that editing gives filmmakers the power to control and manipulate the temporal aspects of storytelling in film. Between graphic, rhythmic, spatial, and temporal relationships between two shots, an editor has various ways to add a creative element to the film and enhance the overall viewing experience. With the advent of digital editing in non-linear editing systems, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance picture editors dealt only with the picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture. The importance of an editor has become increasingly pivotal to the quality and success of a film due to the multiple roles that have been added to their job.
A soundtrack is a recorded audio signal accompanying and synchronised to the images of a book, drama, motion picture, radio program, television program, or video game; colloquially, a commercially released soundtrack album of music as featured in the soundtrack of a film, video, or television presentation; or the physical area of a film that contains the synchronised recorded sound. In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production. Initially, the dialogue, sound effects, and music in a film each has its own separate track, and these are mixed together to make what is called the composite track, which is heard in the film. A dubbing track is often later created when films are dubbed into another language. This is also known as an M&E (music and effects) track. M&E tracks contain all sound elements minus dialogue, which is then supplied by the foreign distributor in the native language of its territory. Current dictionary entries for soundtrack document soundtrack as a noun, and as a verb. An early attempt at popularizing the term sound track was printed in the magazine Photoplay in 1929. A 1992 technical dictionary entry in the Academic Press Dictionary of Science and Technology does not distinguish between the form sound track and soundtrack. The contraction soundtrack came into public consciousness with the advent of so-called soundtrack albums in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture." These phrases were soon shortened to just "original motion picture soundtrack." More accurately, such recordings are made from a film's music track, because they usually consist of isolated music from a film, not the composite (sound) track with dialogue and sound effects. The term original soundtrack (OST), often used for titles of albums of soundtrack music, is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover version, and behaves as a unique type of concept album that revolves around a unified theme in a story.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →The Greenwood District.
