OLA PICTURES - Los Angeles Film

Music video production

2011-10-04T03:23:00.000-07:00

Music video production

We work closely with artists to produce music videos that are true to their style. Through the use of Digital HD, we are able to achieve broadcast-grade videos within small budgets.

Becoming SAG

2011-09-23T04:32:00.000-07:00

How do you become a member of SAG?

The easy answer: Get hired on a SAG project to say something on camera.
Sounds easy enough, right? Well, if you win in Vegas and are lucky enough to have this to occur to you then yes…it is easy. For the remaining vast majority of the non-union actors out there it is generally a much more shitty and crappy thing to do. More important, when should an actor become a member of SAG? Is it worth you to become a member of SAG?

Don’t Put Sleigh Before the Reindeers

It is true that almost all tv shows, and most blockbuster films with important BIG budgets are produced under union contracts. So should each actor or beautiful actress join the screen actors guild union asap? Not automatically. What does SAG Have To Tell Us:

The SAG website states the following:

“Screen Actors Guild membership is a significant rite of passage for every working actor. However, don’t be in a hurry to join unless you are sure that you’re ready to compete as a professional. Prepare yourself by studying, performing in plays and non-union on-camera projects in order to build your resume and gain valuable experience.”

So when to join? That is a question actors must decide for themselves based on their individual goals and objectives. Since it generally takes many many years to become eligible to join SAG, it is a good idea to take their advice and work on your craft as an actor while obtaining priceless experience on the best non-union sets you can find. When the opportunity presents itself to join, you will be ready to work as a professional at the highest level.

It’s Time

You’ve studied and practiced in the classroom and built your resume working on non-union films – it’s time to get serious and be recognized as a legitimate professional. How do you get into SAG? How do you qualify to join the union?

Referring back to the SAG website:

“A performer becomes eligible for Screen Actors Guild membership under one of the following two conditions: (1) proof of SAG employment or (2) employment under an affiliated performers’ union.”

1) Proof of Employment
Principal Performer Employment Performers may join SAG upon proof of employment. Employment must be in a principal or speaking role in a SAG film, videotape, television program or commercial.

Background Actors
may join SAG upon proof of employment as a SAG–covered background player at full SAG rates and conditions for a MINIMUM of three work days

2) Employment Under an Affiliated Performers’ Union
Performers may join SAG if the applicant is a paid-up member of an affiliated
Performers’ union (ACTRA, AEA, AFTRA, AGMA or AGVA) for a period of one year and has worked and been paid for at least once as a principal performer in that union’s jurisdiction.
There are many steps to becoming an Actor or Actress.

The Bottom Line

Simply stated, if you work as a principal performer on a SAG project, or work as an extra (aka Background Performer) for three days at full SAG rates (for which you receive vouchers) you are eligible to join SAG.

You are also eligible if you have been a paid up member of, for example, AFTRA for at least one year AND have worked and been paid as a principal performer (i.e. you said something).

Things to keep in mind:

- It costs $2,335 to join SAG initially. Annual dues are $116 plus a percentage of earnings.
- The three vouchers for background (extra) work are difficult to get. There are a limited number of these vouchers available to background performers on any given project. Not all extras get one, even if it is a SAG project.

- Commercials are a great way to earn SAG eligibility because they often have ample budgets to Taft-Hartley (a fine paid for hiring a non-union worker) any performer they like for a role.
- Producing your own web series or other “New Media” content under a SAG agreement can be a way to earn SAG eligibility.

- You don’t have to join SAG until you book your second union gig (in some cases your third).
- You may not perform in a non-union project once you attain full SAG membership. This is part of what’s known as the “Global One Rule”.

Remember, until you have gained sufficient acting skills and built a respectable list of credits (i.e. experience) it’s not a good idea to join SAG. You will only be cutting yourself off from potential money making opportunities, and more importantly losing the chance to get some good material for your When you are going on more auditions for Union projects than non-union projects…that is the time to start saving for your SAG initiation dues.

Photek - Sleepwalking feat Linche

2011-09-10T16:45:00.000-07:00

Photek - Sleepwalking feat Lincheolapictures.comvideo by mike ahuja

'Don't Be Afraid of the Dark' Movie Review

2011-08-24T03:03:00.000-07:00

By Mark H. Harris

Those of a certain age might remember the 1973 ABC TV movieDon't Be Afraid of the Dark, but chances are you aren't and you don't. Have no fear, however; Hollywood can always be counted upon for a remake, and so voila, we have Don't Be Afraid of the Dark.

The Plot

Sent by her mother to live with her estranged dad Alex (Guy Pearce) and his live-in girlfriend Kim (Katie Holmes), young Sally (Bailee Madison) flies from LA to dreary Rhode Island, where Alex is renovating an old mansion. He and Kim have decide to live there until the work is done, and they set Sally up in her own room in the creaky, shadow-filled home.

Feeling rejected by her mother and distraught at the prospect of her father remarrying, Sally is reticent and standoffish, especially towards Kim. She finds some solace in exploring the mansion grounds, where she discovers a basement that had been sealed off from the house. Inside is a furnace that appears to have been bolted shut for years, but when she hears tiny whispered voices asking her to open it up and set them free, she loosens the bolts as best she can.

READ THE REST HERE

http://horror.about.com/od/2011theatricalreviews/fr/Dont-Be-Afraid-Of-The-Dark-Movie-Review.htm

"Final Destination 5" a hoot for the strong of stomach

2011-08-13T19:26:00.000-07:00

By Jordan Riefe

LOS ANGELES (TheWrap.com) - Finally, you can cheat death in a "Final Destination" movie. Just take someone else's life -- adding your victim's years to your own.

It's not only the only twist in the new "Final Destination 5," it's a philosophical conundrum square in the middle of the least philosophical franchise ever.

As usual for the series, director Steven Quale delivers shocking scenes of horrifying murder and mutilation. But there is this: Quale shot second unit on James Cameron's "Titanic" and "Avatar"; for the latter, he was responsible for much of the groundbreaking 3D technology.

He employs it to superlative effect here. "FD 5" may reek in the acting department, but Quale is sure-handed with narrative montage, ratcheting up the tension as the reaper closes in with outlandish coincidence that makes even a massage parlor a potential death trap.

As for the story, once again it's a case of set it up and then let the bloodbath begin.

And so it starts with young Sam Lawton (Nicholas D'Agosto) on a tour bus to a company retreat when he has a startling vision of a bridge collapse with each of his friends meeting gruesome Wile E. Coyote-like deaths.

Snapping out of his nightmarish reverie, Sam herds his friends and whoever will listen off the bus only to see it consumed in a collapse matching his vision.

Unfortunately, D'Agosto loosely anchors the movie in a wan and passive manner. His roots are in TV, and he appears lost on the big screen, although screenwriter Eric Heisserer's alarmingly inept ear for dialogue doesn't help matters much.

Miles Fisher plays the company's ethically challenged alpha male, a role by which he oddly channels Tom Cruise, delivering a hackneyed performance as he struggles with a character arc that barely makes sense. Veteran actor Courtney B. Vance acquits himself well in a limited role as a cop, and David Koechner, as the typically clueless office manager, gets a few hardy laughs.

But, per usual, "Final Destination 5" only becomes watchable when people are perishing, in ways so outlandish that they border on self-parody. There are at least as many laughs as there are scares, such as when one poor victim has his face caved in by a stone Buddha, or when a gymnast fumbles on a difficult dismount, landing like a pretzel.

It's a hoot, if you can stomach it. The concept for the original "Final Destination" back in 2000 was a sound one -- for the cheap thriller that it was. To stretch it to a five-picture franchise is, you'll pardon the pun, overkill. It has over the years become nothing more than a celebration of graphic gore and pain meant to elicit chills and laughter.

FURN BAND MUSIC VIDEO "THREADS" DIRECTED BY MIKE AHUJA

2011-08-03T12:45:00.000-07:00

NOT BAD FOR MY MUSIC VIDEO DIRECTORIAL DEBUT....

Music video for the ROCK BAND @Furn and their single "Threads" DL song on their FB page, staring @Jeffrey Vance @Erik Carlsson @Jessie Sanchez @Devin Benter @Wes Sanders and featuring the beautiful @Susan Lee ....

cinematography work by @Alejandro Wilkins with additional camera work by @Jonathan Goldfisher and editing by @Young Chang and line producer @Ronald San Agustin

https://www.facebook.com/FurnBand Bands Facebook

http://www.olapictures.com Director & Producer

http://www.alejandrowilkins.com Cinematography

LA Film Score Producers

2011-07-03T01:50:00.000-07:00

A film score (also sometimes called background music or incidental music) is original music written specifically to accompany a film, forming part of the film's soundtrack, which also usually includes dialogue and sound effects. The score comprises a number of orchestral, instrumental or choral pieces called cues which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question.

Songs are usually not considered part of the film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from the score (or vice-versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs which are "needle dropped" into a specific scene in film for added emphasis are not considered part of the score, although occasionally the score's composer will write an original pop song based on his themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.

Scores are written by one or more composers , under the guidance of the film's director and/or producer, and are then usually performed by an ensemble of musicians - most often comprising an orchestra or band, instrumental soloists, and choir or vocalists - and recorded by a sound engineer.

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. The majority of scores are orchestral works rooted in Western classical music, but a great number of scores also draw influence from jazz, rock, pop, blues, New Age ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.

Since the invention of digital technology and audio sampling, many low budget films have been able to rely on digital samples to imitate the sound of live instruments, and many scores are created and performed wholly by the composers themselves, by programming sophisticated music composition software.

Los Angeles Sound Design

2011-07-03T01:10:00.000-07:00

Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is employed in a variety of disciplines including film,theatre, sound recording and reproduction, live music performance, sound art and computer game software development. Sound design most commonly involves the manipulation of previously composed or recorded audio, such as music and sound effects. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A sound designer is one who practices the art of sound design.

In motion picture production, a Sound Designer is a member of a film crew responsible for some original aspect of the film's audio. In the American film industry, the title of Sound Designer is not controlled by any industry organization, unlike titles such Director or Screenwriter.

The terms sound design and Sound Designer were introduced to the film world in 1972. The title of Sound Designer was first granted to Walter Murch by Francis Ford Coppola in recognition for Murch's extraordinary contributions to the film Apocalypse Now. The original meaning of the title Sound Designer, as established by Coppola and Murch, was "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track". The position of Sound Designer emerged in a manner similar to that of Production Designer, which was created in the 1930s when William Cameron Menzies made revolutionary contributions to the craft of art direction in the making of Gone with the Wind.

The sound designer is a principal member of the production staff, with creative authority equal to that of the film editor and director of photography. Several factors led to the promotion of sound design to this level:

Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. These systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides or behind the audience, required more creativity.

Directors wanted to realize the new potentials of the medium. A new generation of filmmakers, the so-called "Easy Riders and Raging Bulls"—Martin Scorsese, Steven Spielberg, George Lucas, and others—were aware of the creative potential of sound and wanted to use it.

Filmmakers were inspired by the popular music of the era. Concept albums of groups such as Pink Floyd and The Beatles suggested new modes of storytelling and creative techniques that could be adapted to motion pictures.

New filmmakers made their early films outside the Hollywood establishment, away from the influence of film labor unions and the then rapidly-dissipating studio system.

The role of sound designer can be compared with the role of supervising sound editor; many sound designers use both titles interchangeably. The role ofsupervising sound editor, or sound supervisor, developed in parallel with the role of sound designer. The demand for more sophisticated soundtracks was felt both inside and outside Hollywood, and the supervising sound editor became the head of the large sound department, with a staff of dozens of sound editors, that was required to realize a complete sound job with a fast turnaround. It is far from universal, but the role of sound supervisor descends from the original role of the sound editor, that of a technician required to complete a film, but having little creative authority. Sound designers, on the other hand, are expected to be creative, and their role is a generalization of the other creative department heads.

Hollywood CGI Company

2011-07-02T21:51:00.000-07:00

Computer-generated imagery (CGI) is the application of the field of computer graphics or, more specifically,3D computer graphics to special effects in art, video games, films, television programs, commercials,simulators and simulation generally, and printed media. The visual scenes may be either dynamic or static.

The term computer animation refers to dynamic CGI rendered as a movie. The term virtual world refers to agent-based, interactive environments.

3D computer graphics software is used to make computer-generated imagery for movies, etc. Recent availability of CGI software and increased computer speeds have allowed individual artists and small companies to produce professional-grade films, games, and fine art from their home computers. This has brought about an Internet subculture with its own set of global celebrities, clichés, and technical vocabulary.

If you can imagine it, we can generate it : )

Los Angeles Sound Editor

2011-07-02T21:04:00.000-07:00

A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound. Sound editing developed out of the need to fix the incomplete, undramatic, or technically inferior sound recordings of early talkies, and over the decades has become a respected filmmaking craft, with sound editors implementing the aesthetic goals of motion picture sound design.

The Academy of Motion Picture Arts and Sciences recognizes the artistic contribution of exceptional sound editing with the Academy Award for Best Sound Editing.

There are primarily 3 divisions of sound that are combined to create a final mix, these being dialogue, effects, and music. In larger markets such as New York and Los Angeles, sound editors often specialize in only one of these areas, thus a show will have separate dialogue, effects, and music editors. In smaller markets, sound editors are expected to know how to handle it all, often crossing over into the mixing realm as well. Editing effects is likened to creating the sonic world from scratch, while dialogue editing is likened to taking the existing sonic world and fixing it.

Dialogue editing is more accurately thought of as "production sound editing", where the editor takes the original sound recorded on the set, and using a variety of techniques, makes the dialogue more understandable, as well as smoother, so the listener doesn't hear the transitions from shot to shot (often the background sounds underneath the words change dramatically from take to take). Among the challenges that effects editors face are creatively adding together various elements to create believable sounds for everything you see on screen, as well as memorizing their sound effects library.

Los Angeles Film Editor

2011-06-30T03:17:00.000-07:00

A film editor is a person who practices film editing by assembling footage into a coherent film. Film editors often are responsible for pulling together all of the elements of story, dialogue, music, sound effects, visual effects, rhythm and pace of a film. In the making of a film, the editors usually play a dynamic and creative role. Film editing is an art form, which can either make or break a film.

A film editor shapes the actors’ performances, “re-directing” and often re-writing the film during the editing process, honing the infinite possibilities of the juxtaposition of small snippets of film into a creative, coherent, cohesive whole.

a. Editing sound

b. CGI

c. Sound design

d. Color correction

e. Score

Make-Up Artist & Hairdresser

2011-06-28T02:46:00.000-07:00

A make-up artist is an artist who creates makeup and prosthetics for television and film. They are beauticians that apply makeup to anyone appearing on screen. They concentrate on the area above the chest, the face, and the top of the head, the fingers, hands, arms, and elbows. Their role is to manipulate an actors on screen appearance whether it makes them look more youthful, larger, older or in some cases monster like.

A hairdresser is someone whose occupation is to cut or style hair, in order to change or maintain a person’s image on screen, as they desire. This can be achieved using a combination of hair coloring, haircut, and or hair texture techniques. Both the make-up artist and the hairdresser work in conjunction with one another and both normally work with the director in making sure that his or hers desired image is brought to life with hair and makeup.

Script supervisor

2011-06-28T02:43:00.000-07:00

A script supervisor is an associate of a film crew in charge of maintaining the film’s interior continuity and for marking the production units daily movement in shooting the film’s screenplay. This individual is the editor and writer’s spokesperson on set, as well as being the right hand adviser to the director and the cinematographer.

At the end of the day it is the scrip supervisor’s role to make sure that the film can be pieced together. Some of the tasks of the script supervisor are continuity, slating, script, production reports and editor’s notes. OLA Pictures can accomplish these tasks delegated to the position of script supervisor with professionalism, detail, and in a trust worthy fashion.

Film Producer

2011-06-28T02:40:00.000-07:00

The circumstances for assembling movies are formed by a film producer. The producer’s role is to initiate, coordinate, supervise and control matters such as fundraising, hiring key personnel, and arranging for distributors. A producer is included in all steps of the process of filmmaking from start to finish. Commonly the producer is thought of as the chief of staff whereas the director is in charge of the line.

This model is similar to that of large corporations and the military. The majority of control is held by the producer and has the ability to let go the director if needed even though the director actually makes the film. There are different types of producers and OLA Pictures offers the following producing services that may fit with your intended production.

§ Executive producer

§ Producer

§ Co-producer

§ Associate producer

§ Line producer

§ Production manager

§ Administrative producer

Film Wardrobe

2011-06-28T02:16:00.000-07:00

Similar to setting, wardrobe can have explicit meanings in the film, and the reach of potential is great. Wardrobe, which is often called costume design, is the design of the look of the characters in a film. This generally involves designing or selecting clothing, shoes, hats, and head dresses for the actors to wear, but may also include other articles as well. The costume designer, head of wardrobe, will look to develop a character’s persona, within the outline of the director’s creative vision, through the way that a character is dressed.

The costume designer is accountable for all the clothing and costumes worn by all the actors that emerge on screen. This person is also liable for designing, planning, and organizing the assembly of the garments down to the fabric, colors, and sizes. The costume designer works closely with the director to comprehend and interpret “character,” and consults with the production designer to reach an overall tone of the film. OLA Pictures has consistently provided consultation in costume design and has the ability to provide the following services connected to the wardrobe department of a film production.

§ Costume designer

§ Costume supervisor

§ Buyer

Sound Mixer

2011-06-28T02:13:00.000-07:00

A sound mixer is the element of a film crew responsible for recording all sound and sound effects on set throughout the shooting of the film, for afterward insertion in the finished product, or for indication to be used by the sound designer. The fundamental responsibility of this person is to record dialogue during shooting. This involves choice and deployment of microphones, recording media, and mixing of audio in real time.

The sound mixer is deemed the department head and is accountable for all aspects of production sound including supervising the boom operator and the “third man,” planning the technical setup concerning sound including both sound equipment and ancillary devices involved in syncing and time offsets, predicting and talking about sound related concerns with the entire crew. OLA Pictures can provide the professional services of a sound mixer to your production eliminating any stress of not capturing your audio clearly.

§ Sound mixer

§ Boom operator

§ Third man

Cinematographer

2011-06-28T02:05:00.000-07:00

A cinematographer is one photographing with a motion picture camera, director of photography, and is the head of the camera and lighting crews working on the film. The person in charge of the photography unit is the cinematographer. The cinematographer is a specialist on the photographic processes, lighting, and manipulation of the camera. This individual is dependable for achieving artistic and technical choices associated to image.

This individual chooses the film stock, lens, and filters to fulfill the scene in agreement with the goals of the director. He or she consults with the director on how each scene will be lit and filmed visually and the cinematographer sets out to accomplish this effect. OLA Pictures offers to productions the ability of acting as the cinematographer on your film regardless of the story, budget, and or medium of shooting as well as some of the related positions.

§ Cinematographer

§ Camera operator

§ 1^st assistant camera (focus puller)

§ 2^nd assistant camera (loader)

Director

2011-06-28T01:59:00.000-07:00

The director puts the script on film by managing the numerous pieces of the film medium. This individual is regarded as the single person most responsible for the look and sound of the finished product. The director’s job is to envision the script, organize the film’s artistic and dramatic aspects, while leading the technical crew and actors in the fulfillment of his or her vision. They decide what tone it should have, and what an audience should achieve from the experience of viewing the film.

A director approves every camera angle, lens effect, lighting and set design. They synchronize the actor’s moves and may be involved in the writing, financing, and editing of the film. This person works very close with the cast and crew, both giving and taking suggestions. The director consults with the cast before each scene to do a run through and this facilitates any changes that must be made prior to shooting. OLA Pictures can offer to your production the following director services.

§ Director

§ 1^st assistant director

§ 2^nd assistant director

Production Schedule

2011-06-27T03:34:00.000-07:00

Scheduling is an important instrument for filmmaking, where it can have a major impact on the productivity of the entire film production process. The purpose of scheduling is to minimize the production time and costs therefore maximizing the efficiency of the operation and reducing costs. The production schedule is a project plan of how the production budget will be spent over a given timescale, for every phase of filmmaking.

A shooting schedule is a project plan of each day’s shooting for a film production. Both schedules represent a timeline stating where and when production resources are used. It is normally created and managed by the assistant director, whom reports to the production manager managing the production schedule but can be handle by OLA Pictures along with the following scheduling services listed below.

§ One liner schedule

§ Shooting schedule

§ Production board

§ Day Out of Days

§ Daily call sheets

Film Crew Hiring

2011-06-27T03:30:00.000-07:00

A film crew is an assembly of individuals hired by a film company for the reason of producing a film or motion picture. Crews are separated from cast, the actors whom appear in front of the camera for characters in the film. Crew are also detached from producers, those whom own a portion of either the film company or the film intellectual property rights.

A film crew is divided into different departments, each of which specializes in a specific aspect of production. OLA Pictures provides the service of finding the right people for the right job or function desired for your production. Listed below are some of the common positions that we do hire for on a consistent basis for productions of all sizes.

§ Camera

· Director of Photography

· 1^st assistant camera

· 2^nd assistant camera

§ Production Sound

· Sound mixer

· Boom operator

§ Art Department

· Art Director

· Set Decorator

· Props Master

· Construction Coordinator

· Key Scenic

· Greens Man

§ Editorial

· Film editor

· Visual effects supervisor

§ Electrical

· Gaffer

· Best boy (electrical)

§ Sound / Music

· Sound designer

· Sound editor

· Music supervisor

· Composer

§ Grip

· Key grip

· Best boy (grip)

§ Wardrobe

· Costume Designer

§ Hair / Make Up

· Make-up artist

· Hairdresser

Producing

2011-06-27T02:38:00.000-07:00

§ Executive producer

§ Producer

§ Co-producer

§ Associate producer

§ Line producer

§ Production manager

§ Administrative producer

Film Finance

2011-06-27T02:19:00.000-07:00

Film finance is extremely guarded and is a slightly understood aspect of film production. It is a division of project finance, intended that the cash flows to repay investors are generated from the film project, and normally not from external sources. One of the primary obstacles of film finance is that of the ability to forecast with any precision the revenues that a film will produce.

The aspects that decide the commercial success of a film include public taste, artistic merit, competition from other films released at the same time, quality of the script, quality of the cast, quality of the director and other parties. Although a film may read “on paper” as a box office success, there is still no precise method to decide how much revenue that the project will produce. OLA Pictures film finance services are listed below.

§ Typical methods of raising finance

§ Atypical methods of raising finance

§ Government grants

§ Tax schemes (German tax shelters, British tax shelters)

§ Debt finance

§ Equity finance

§ Pre-sales

§ Television pre-sales

§ Negative pickup deal

§ Gap/Super Gap financing

Budgeting

2011-06-27T01:57:00.000-07:00

Budgeting is considered to be a very valuable phase in the filmmaking process, and is often thought of as boring but how a budget is constructed can be one of the most creative aspects of the filmmaking process. Filmmakers construct a rough or preliminary budget at the time of script development in order to obtain the go ahead commonly referred to as the “green light” from film producers and studios.

A truly detailed budget is constructed during the pre-production phase and is generally used to obtain financing. OLA Pictures film budgeting services are listed below and can be completed in both the script development and pre-productions stages of the films conception.

§ Above-the-line (creative talent)

§ Below-the-line (direct production costs)

§ Post Production (editing, visual effects, etc.)

§ Other (insurance, completion bond, etc.)

§ Tactics for cutting costs

§ Defining budget elements

§ Using budget as marketing tool

§ Dealing with exceeding budget

Casting

2011-06-27T01:42:00.000-07:00

Casting is a vital pre-production process for selecting a cast of actors, dancers, singers, models, and other talent for a live or recorded performance. OLA Pictures casting services are listed below and will help your film connect the perfect face and talent bringing the written character to life.

§ Character breakdowns

§ Desired cast list

§ Casting director

§ Auditions

§ Callbacks

§ Open call

§ Final cast list

§ Background performers

§ Screen Actors Guild (SAG)

§ Casting Society of America (CSA)

§ Read-through

Script

2011-06-26T05:44:00.000-07:00

A screenplay or script is a blueprint written by a screenwriter for a film or television program. Screenplays can be original works or adaptations from existing works such as novels. A screenplay differ from a script in that it is more specifically targeted at the visual, narrative arts, such as film and television, whereas a script can involve a blueprint of “what happens” in a comic, an advertisement, a theatrical play and other “blueprinted” creations. OLA Pictures script services offered are listed below.

· Pitch session

· Treatment

· First draft

· Final draft

· Novel or play adaptation

· Rewrite

· Revision

· Shooting script

· Writers Guild of America (WGA)

· Consultation