Tags
Categories
Blogroll
Estamos Rodando…
-
-
-
-
Meta
Category Archive: Cine
Subcategories: No categories
The Wonders of Slating
Back in the days of yore, when cheese didn’t come in pre-sliced, individually wrapped packets, and the word “cloud” only referred to the visible masses of precipitation in our planet’s atmosphere, there was only one way to accurately make a movie with sound. That way, my friends, relied heavily on the aid of a slate or clapperboard.
These days, many cameras come equipped with internal microphones for capturing sound, but this was not always the case. Cameras and sound recording devices were once strictly separate entities, and it was important to be able to sync the audio and visual elements once shooting was complete and it was time to start editing. The sharp “clap” sound produced by a slate was developed as an easily identifiable point of reference for the person editing the project.
But we live in the fancy twenty first century, what use have we for clapperboards and the like? Well, today a lot of folks are shooting with DSLR cameras, and are using separate sound recorders to capture the highest quality audio for their project. Thus, slating still plays an active roll in capturing and organizing sound during a production, and makes the job of the editor easier when bringing picture and sound together in post production (a.k.a. once all the shooting is complete).
Our friends at Framelines TV have provided a great overview of slating, which you can check out in the video below.
So let’s review Framelines TV’s rundown in more detail-
A slate should be written clearly and legibly, and positioned in the frame as the camera and sound operators begin recording and before the director shouts “action!” The signature sound of the clapper should be loud enough for the microphone to catch it, and the clapstick should be visible for the camera to catch it. This does not mean the clapper needs to be slammed hard – just letting the clapstick drop down on its own should be enough.
There are a few helpful verbal queues that the slate loader should say before the scene begins.
On a busy set, communication is key. The slate happens as the camera and sound operators begin recording. The slate loader verbally indicates the scene and the take number, prepares the clapperboard while saying “marker” (which helps editors in post expect when to hear the clap), and slaps the clapper. Here is a typical rundown for the slate:
- The sound operator begins recording, says “speed.”
- The slate loader shows the clapperboard in front of the camera, says “this is scene 1, take 1.”
- The camera operator begins rolling, says “speed.”
- The slate loader readies the clapper, says “marker,” and slaps the clapper.
- The slate loader moves out of the frame.
Placement in the frame is important when slating.
The clapperboard should be positioned squarely in the frame and the numbers legible for the editor to read. For a wide shot, have the clapperboard in front of the camera. For a close up shot, make sure the clapperboard is in front of the subject of the close up.
Image courtesy of Shutterstock
So what is written on the clapperboard and how do you write it?
The image above is a conventional clapperboard. A clapperboard typically comes with spaces to write the production title, director, camera operator, date, and whether it is a day or night shot. The numbers on a clapperboard consist of the numbers designating the roll (or tape, and for DSLR shooters, memory card), the scene, and the take. The numbering system for scenes is good to know when shots vary while shooting the same scene. Shots within the same scene are designated by letters of the alphabet next to the scene number: 1A, 1B, 1C…1AZ, then 1AA, 1AB, 1AC, and so on, as you run out of letters in the alphabet. When these numbers and letters are said verbally on set, the letters are often nicknamed so that they read out as “one apple, one baker,” and so on. A few letters tend to be skipped – I, O, and S – to alleviate any confusion when placed next to the scene number.
Pro tip…
Never write on your slate with a Sharpie or permanent marker! You want to use a dry-erase marker that can be easily erased. This way, you can use your slate over and over!
Sometimes a scene will not need any sound or it will be added later.
The clapper is not always used when slating a scene. These scenes are slated as an MOS, or a “Motor Only Shot,” indicating that the scene does not need synchronous sound added to it later. In this case the clapperboard is held with the clapper closed or muted with your hand.
If the scene is accidentally shot without a slate at the beginning, a good idea is to tail slate. This is when the slate is done at the end of a scene instead of the beginning, and is indicated by showing the clapperboard turned upside down.
Even if you don’t have a slate you can still use a sudden noise to help synchcronize your audio and video elements. A brief, sharp clap in front of the camera can be used by an editor later on to match up video and sound.
See? Who said you didn’t need slating? It’s fun, easy, and makes a world of difference in the filmmaking process, bringing your pictures and sound together in harmony where they can call your wonderful videos home!
by Champ Ensminger ¡
Painting with Light
Ever notice those commercials where beams of light dance around people or objects to spell out words or make shapes? The ones that look like stop motion, but have cool light streaks around them? Many people refer to it as light painting, and it looks a lot like this:
There are tons of different ways you can incorporate this technique. You could make a music video where the bands members have ribbons of light beaming around them. Or you could give your video life by adding light painting to show character movement. Light painting, can produce some amazing visual results, and with some preparation it may not be as hard as you think.
Here’s what you’ll need:
Stills Camera with manual settings
Tripod
Dark clothing
A light source, preferably a flashlight, LED, glowsticks work pretty well
A friend or partner to help (not necessary but guaranteed to increase the number of laughs)
A dark environment
A fun idea!
Our friends at PhotoJoJo pieced together an awesome guide to the basics.
Lightpainting How-to with Photojojo! from Photojojo loves you on
The process of creating light paintings varies based on what you want to capture. You can make a video card for someone where the words are spelled out, outline objects like in the examples above, or do something really elaborate, like ask someone to marry you in light writing over a couple of city blocks. That’s what Derick Childress did here when he proposed to his now wife, Emily. Derick was kind enough to explain at length exactly how he accomplished such an awesome video.
Here are some technical details to keep in mind-
Turn off your cameras’ auto focus
Set the ISO low (under 400) so the sensor can pick up your light source easily
Adjust your f/stop or aperture to as high as you can get it (e.g. f/18 or f/22). This will prevent other sources, like background street lamps, from showing up in your images
If you want to capture long streaks of light, just take a photo with a long exposure, this means using a slower shutter speed and have some fun dancing around in frame with your light source.
You’ll want to experiment with different shutter speeds, a longer exposure= longer light streaks
If you want to capture a subject along with light streaks, fire the flash on your subject at the beginning of the shot, then enter the frame while you subject remains still and draw away!
Finally, making a video out of these pictures mirrors the steps to create stop motion almost exactly. You can refer to our timelapse lesson here for reference. After you’re done shooting your images, you’ll want to choose the best ones, weed out the rest, and then bring all those images into a video editing program. By placing your images in order you can animate movement, spell out words, or make all sorts of interesting light based shapes.
It will take some practice with your camera and location to get the best results, but done right, you can make some amazing visual works of art!
by Matt Schwarz
Tagged Tv School
Setting the Pace
Alright, today we’re learning about pacing and cutting! Of course making compelling videos takes practice, but by following just a few simple rules we’ll cover in this lesson, you can easily set the mood you’re aiming for. Controlling the number of shots and pacing them in a deliberate way is a BIG part of establishing the feel you want.
In the video below by Peter John Ross, you’re given a quick overview of how the length of each clip and the variety of shots together affect the feel of your video. Take a gander for a more detailed explanation with some great examples.
Deciding how to shoot and then to edit your video depends, to a large extent, on what you want to convey. Ask yourself what you want to evoke from your audience. Is it an intense action sequence, or a tender romantic scene where you want to emphasize the characters facial expressions and reactions? Think about what’s important to show and when. Is there something that deserves emphasis like an object in a characters hands, or a subtle glance worth capturing? Think over these points carefully before you start shooting and come up with a list of the shots you need. This will help speed up your production and it’s a good way to make sure you’re capturing all the footage you want. Once you start editing, play around with cutting shots at varying lengths, you might be surprised how an extra moment or two can completely change the feel of scene.
Let’s compare a couple of videos that use different cutting styles. First up is, Solitude-
Solitude from robin risser.
This quiet, introspective video takes it’s time with each shot but it is by no means tiresome. There’s a lot of detail to notice in each shot and the creator has intended for you to take your time as a viewer. Also notice the shot variety, you’re presented with a combination of close ups and wide shots that help keep the visual information interesting.
Let’s compare the feel of that video to this one by Moop Jaw-
Fun stuff right? This video has a vibrant, exciting feel to it and part of that feeling is established by having quick cuts. Some cuts are so sudden that you may not notice them and others are obvious. Regardless,there’s also a lot of shot variety. We’re primarily shown whole body scenes of the dancers but it’s mixed in with shots of feet and waist up medium shots as well. Obviously music plays a huge role in this video as the tempo leads the pace of editing.So here we have two very different videos that use different editing paces to establish a mood. Music, framing, and many other elements of shooting will have an unquestionable effect but keep timing in mind when you’re telling your story.
Getting a good feel for pacing can take years of practice to learn and apply properly but with a bit of luck and persistence your videos will only get better. Remember in life and videos, timing is everything.
by Daniel Hayek
Tagged Tv School
Tripod Tricks
The world of video production can be a pricey place. Luckily, there are tons of quick tips and tricks that can help you create professional looking shots for practically nothing! This lesson focuses on the secrets a plain old tripod holds deep within those magical extending legs that can help take your videos to the next level.
Check out this short tutorial we made to help you unlock the secrets of the tripod.
Let’s recap these tips below-Tripod as dolly slider- If you retract one of the legs on a tripod you can use the remaining two legs as pivot points to smoothly move your camera back and forth. This effect can help add motion to a static shot, suspense to a bland scene, or to help emphasize an object. Just remember to carefully pitch your camera forward and back as you lean the the camera. This will help keep your shot level while still giving you that smooth slider effect we all love.
Tripod as crane- Just like the dolly slider trick you again retract one leg and lean the camera on the remaining two. Since you’re trying to emulate a crane shot though, you’ll want to lean the camera far forward, almost to the ground and back. This effect can be exaggerated by extending the tripod to its maximum height. These types of shots are great for revealing moments in a scene or inversely moving from high to low to help emphasize a character or object.
Tripod as steadicam- The weight of your tripod can actually help smooth out your shots. Just open up the legs and grip the tripod from below the camera mount. The extra weight displacement should help keep small shakes to a minimum. This technique takes some practice to get right but with a nice smooth shot your video will look better. If you are unsatisfied with your footage, feel free to add some image stabilization during post. We used Final Cut Pro’s ‘Smoothcam’ filter!
Rubber band for pans- If you take an everyday rubber band and place it on the handle of your tripod you can smooth out your panning shots. The extra tension provided by the rubber band will help make your pan shots smooth instead of jumpy. Just make sure to grip the camera firmly with your other hand as you lead the movement by pulling on the rubber band carefully.
Remember that all tripods are different. Some of you might own a top of the line model while others might be stuck with your family’s old handy-cam tripod. Make do with what you have and keep in mind that making videos is about being creative and solving problems, it’s half the fun! Learning to shoot video isn’t an easy task and these different tricks took us a few times to get just right so practice before using them on a serious video project. Give them a shot though and who knows, maybe you’ll come up with your own tripod tricks.
by Derek Beck
Tagged Tv School
LA SCRIPT
Hola de nuevo amigos míos ! ! y gracias por los mails que me mandáis ! ! ( ya sabéis que para cualquier cosa que queráis preguntar, sigo por aquí). Bueno, vamos a ver que toca hoy …a si, la Script.
En los rodajes amateurs, no suele haber nadie que haga de script ( y así quedan después algunos…..) por que la gente no sabe para lo que sirve, y es más, los que lo saben creen que no es importante. Dejadme que os explique la grandísima importancia que tiene.
En primer lugar, explicaros que las pelis nunca se ruedan en orden cronológico según el guión literario. Al contrario, se ruedan en el más completo desorden. ( ¿ ?) Y eso por qué ? ? pues por que así lo dice producción. Es decir, los chicos de producción dictan elplan de rodaje ( orden de rodaje se llama también) según criterios estrictamente economicos y de disponibilidad de factores. Es decir, si tenemos que grabar en la India una secuencia del comienzo y otra del climax de la peli, no haremos dos viajes a la india, si no que una vez estemos allí, rodaremos la secuencia del comienzo, y también la secuencia del final. Es más barato hacer un solo viaje que dos.
Lo mismo ocurre con los frentes de iluminación ( es más rápido=barato iluminar una sola vez un lugar y rodar todo allí, que tener que reiluminarlo de nuevo a cada vez para seguir un rodaje cronológico) igual pasa con las posiciones de cámara, etc… por cierto, por si no lo sabíais, se rueda casi siempre con una sola cámara. Solamente se rueda con más de una cámara en los planos de explosiones, de cosas que se rompan, etc… en donde sea imposible repetir la toma. Si no es así, lo que hacemos es rodarlo todo desde una posición de cámara, ( enfocando a Pepe) y luego volverlo a repetir pero cambiando la posición de la cámara (enfocando ahora a María, en el caso de una conversación de pepe y María)
Ahora viene lo bueno….. pero si rodamos el plano de Pepe el Lunes, y el de María lo rodamos el Viernes, y luego esos planos tienen que ir juntos en el montaje….como demonios hacer que parezcan que se han rodado al mismo tiempo ? ? Esa es la noción de continuidad. Es decir, tiene que haber la misma luz, los actores deben llevar la misma ropa, el mismo corte de pelo, el mismo broceado ( ojo a los rodajes en verano ! ! Véase Verano Azul…. eh ! ! por allí viene el Piraña ! ! que tiempos aquellos….).
Por eso, como todo se rueda en desorden, existe una persona, la Script, que no hace sino apuntar qué camisa llevaba Pepe, cómo llevaba el peinado María, donde tenía el cigarrillo Pepe, cómo estaba el cigarrillo de fumado, si el vaso de agua estaba lleno o semivacio, etc… La script suele llevar por lo tanto alguna polaroid para hacer fotos de las posiciones de los objetos para luego mantener la continuidad en el siguiente rodaje de la misma secuencia.
Esa noción de continuidad lleva el nombre técnico de Raccord. Hablamos por lo tanto de que la Script tiene que mantener el Raccord ( o sea, mantener la continuidad). Cuando en dos planos consecutivos no hay continuidad, decimos que no hay Raccord ( o que falla el raccord) Todo el mundo recuerda a aquellos romanos de Ben- Hur con zapatillas de Deporte ! o con el Rolex en la muñeca ! jajajajaja ! ! ! ( ” Ave César, son las nueve y cuarto según mi Rolex ! !” jajajajajajajajajaja ! ! ! !)
El raccord es algo muy dificil de mantener. Existen diferentes tipos de raccord :
- De posición, es decir que el actor esté en dos planos consecutivos en la misma posición, y no que en un plano tenga la mano agachada y en otro levantada.( psst…fijaos en el fallo de Raccord de posición de la mano del actor en Titanic, en la secuencia en la que el malo malote le da el diamante ese gigante a Kate y se lo pone en frente del espejo en su camnarote. Fijaos que él se sujeta el cuello con una mano y luego con la otra. Menudo fallo de raccord ! !)
- De miradas de personajes. Este lo veremos cuando veamos direccion de camara
- De vestuario. Sobran las explicaciones
- De luz. Que el tipo de luz sea la misma en dos planos consecutivos. ( de ahí la dificultad de rodar en exteriores)
- De posición de cámara. Lo veremos tambien, como depende de donde se coloque la cámara, dos planos consecutivos pueden o no montar.
- de maquillaje y peluquería. Ojo con las actrices que llevan el pelo largo y están todo el día con el “ O sea, vamos que yo , o sea, que sí !” echándose el pelo para atrás !
- de atrezzo
- de guión. Que el actores cambie el guion sin darse cuenta y lo repite de diferente forma a cada vez.
- de interpretación. Que el actor diga :
PLANO 1 ( Plano General) “ Hombre pepe como estás ! Tu familia bien ? ” y bebe un sorbo de agua.
PLANO 2 ( Primer Plano) “ Hombre pepe como estás ! ( y bebe un sorbo de agua) Tu familia bien ?”
Es todo lo mismo, pero en un plano bebe agua al final, y en el otro en el medio de las frases. Cuando lo vamos a montar…Problema ! !
Y la eterna pregunta……por que llevo todo el rato hablando de LA Script y no de EL Script ? ? Je, je…. no nos engañemos amigos….. las chicas tienen mucha más capacidad de retención que nosotros….sniff..sniff….. son mucho más observadoras que nosotros… se fijan más en los detalles que nosotros….. tienen más memoria visual que nosotros…. .bueno basta ya ! ! ! Si le dices a un chico, ” Oye ! como estaba el boli encima de la mesa ? ?” te dice ” Psche..por ahí encima !” eso no quita que haya buenos Scripts-chicos, pero no suele ser la norma.
Además de mantener la continuidad, la script se ocupa de rellenar un parte suyo, en que pone toda la información de cada plano ( números de tomas, tomas buenas y malas y por qué, duraciones, objetivos usados, descripción general, observaciones…) información que será utilisima en montaje y post- producción. Una buena Script suele ser alguien muy observadora, y silenciosa. Hace su trabajo sin hacer ruido, y está para cuando el Director requiere alguna información. En general, es una recapituladora de información durante el rodaje.
Jorge Esteban Blein
Presupuesto vídeo Alicante, Fotografos Alicante, estudio de fotografos, video publicidad, Foto profesional publicidad, retratos, estudio de fotografia, fotos profesionales, reportajes fotograficos, fotografo profesional, oferta fotografia, presupuesto fotografia online, presupuesto producción cine, ofertas de fotógrafos, publicidad, fotografo, retratos, fotografía publicitaria, foto profesional, fotos de catalogo, niños, fotografo de revista, reportaje publicitario, reportaje social, fotografo cine alicante, video alicante, video profesional, presupuesto fotografia, presupuesto fotografia online, presupuesto video presentación, precio de fotografos en Alicante, oferta book alicante, Book Modelos, Fotografia Creativa, Bautizos, Comuniones, Enlaces, fotografia de desnudos, fotografia erotica, reportaje social, presupuesto fotografia, presupuesto fotógrafo online.
Tagged Tv School
Storyboarding Basics
I’m here to talk to you about the importance of storyboarding. Storyboards are tiny drawings that show each scene of your film creating a blueprint for your movie. They can help you keep your budget down by knowing exactly what you need to shoot and help translate to your vision to the rest of your crew. In the following video you will see some of the basic tips and rules for storyboarding. You’ll learn ways to draw motion, number your boards, and how to frame your actors.
Storyboarding from Vimeo Video School.
You don’t need any fancy art degree or high end computer to be a storyboarder. All you need is a pencil, piece of paper, and your imagination. There all kinds of storyboards, from simple stick figures to fully colored drawings cut to music. The important thing is that they both make a clear and concise plan for what you need to shoot or animate. Here are some more video examples of different styles of storyboards:
For extra credit…
A great example from Meg Pinsonneault
Wendy’s Concept Boards from Meg Pinsonneault.
Now let’s start with the basics: The size of your boards can vary, depending on what you are shooting. If you know that your video is going to be in a wide screen format draw your board according to that size. The boards I drew below are pretty loose but it gets across what the shot will be like but is vague enough for interpretation.
It’s important when drawing your boards to number each scene. It’s a good idea to number your shots so you don’t get confused later. When a shot is one motion that requires multiple boards, create a secondary numbering system. For example if your first shot requires three boards of motion label them 1a, 1b, and 1c.
Ex. 1
Make sure you draw your actors in frame and have a clear and consistent background. Feel free to draw outside of your frame as well if you are feeling constricted. Look at the example below, you’ll notice that the scene extends outside the frame of the storyboard. This is a good way to not make your image feel cluttered and help loosen up your drawing.
Ex. 2
When showing a camera movement there are a number of different ways to draw motion.
Ex 1. Arrows- these are a very standard way to communicate which way you want your camera to move. Just follow the arrow!
Ex 2. Motion Lines- motion lines are little more subtle but can emphasize velocity towards an object.
Ex 3. Multiple Frames- this can be a great way to present a slow creeping zoom, or a fast paced one depending on what you are going for.
You can even try combining all three methods to create your own way of showing motion.
by Ian Higginbotham
Tagged Tv School
Who’s Who on the Crew?
Making a video can be a one person production but the more elaborate your ideas get, the more likely you’ll need a crew to execute your vision. Below is a list to give you an idea of how all the work is divided up on a basic crew. Keep in mind that this focuses mostly on the on-set personnel, and even still it doesn’t include every single crew member. What you’ll find below are some of the most common folks you’ll find on a set. The amount of people you need to help make your film vary widely from a simple duo to many hundreds of crew members.
A Producer is a key coordinator for the production. They are involved in many if not all aspects of the production from start to finish. They often have a hand in the production process, creative, financial, and administrative.
An Executive Producer is usually the main investor of the project.
The Production Manager works alongside the executive producer and helps to prepare the budget, oversees the preparation of the production team, and various day to day production decisions.
The Director is in control of all creative aspects of the film. They are the primary person responsible for the storytelling, creative decisions and acting of the film.
The 1st Assistant Director is in charge of basically running the set. As an assistant to the director, they organize the crew, prepare shooting schedules and organize the entire flow of all production activity.
The 2nd Assistant Director distributes documents such as scripts and call sheets to the cast and crew. They also help supervise the set with the 1st AD.
The Script Supervisor‘s job is to keep track of what has been shot in accordance with the script including what changes has been made and how to prevent any continuity errors going forward.
The person who makes the chief lighting, framing, and composition decisions is the Cinematographer, often referred to as the Director Of Photography (or DP). The director will often tell the DP what they want the shot to look like and then they will work their magic, making sure everything looks great to help achieve the director’s vision. On smaller sets, the DP will often double as the camera operator.
The Camera Operator is the person in charge of working the camera to capture the scenes.
The 1st Assistant Camera is often the focus puller. Their job is to make sure the shot is always in focus. On smaller productions, the camera operator will also handle this job.
The 2nd assistant camera is the person who writes all of the shot information on the slate and holds it in front of the camera before each shot. The slate (or clapboard) is the device you write all of the shot information (shot number, take number, etc) as well as the clapper to help sync sound.
It’s the Production sound mixer‘s job to make sure the sound is being properly recorded and mixed on set. They will hold the sound mixer and listen with a pair of headphones to monitor the sound.
A Boom Operator is the person that holds the boom microphone near the action. On smaller sets, the production sound mixer can also take on this roll.
The Key Grip is in charge of supervising camera cranes, dollies, platforms and all on set equipment on a set.
The Gaffer is responsible for the design and execution of the lighting plan on set. They work closely with the DP to make sure everything is lit correctly. Also referred at as the Chief Lighting Technician.
The Special Effects Supervisor is in charge of the creative and technical issues of visual effects on a project. They take care of anything that will break, explode, burn, collapse, etc. and work with the director on blocking the actors’ so they don’t get in harm’s way.
The Production Designer is responsible for creating the visual appearance of the film. Working closely with the DP and Director they are in charge of the look of all settings, costumes, character makeup, and more. Also known as the Creative Director.
The Art Director develops, coordinates, and oversees the overall design of the production and is responsible for everything you see on screen. On a smaller crew, this is also the Set Designer.
The Props Master is in charge of finding and managing all the props that appear on screen.
The Props Builder‘s job is to construct all custom props that are needed for production. Also referred to as Propsmaker
The Make-up Artist / Hairdresser is the person that dresses and maintains the cast’s hair and makeup throughout the shoot.
It’s the Costumer Designer / Supervisor‘s job to design, obtain, assemble, and maintain the costumes for a production
Tagged Tv School
Cooperación Fomativa
El pasado 25 de Julio 2010, La fundación Centro de Estudios Ciudad de la Luz y Comunicazone firmaron el convenio de Cooperación Formativa. En virtud del cual alumnos del centro de estudios pueden realizar las practicas como profesionales en situaciones reales, perfeccionado su formación.
El gerente D. Luis Cruz Miravet por parte del centro de estudios de Ciudad de la Luz y La presidenta de la Productora Conunicazone Rosa Gonzalez Soto, firmaron el convenio para que alumnos de Centro de estudios de Ciudad de la Luz realizen practicas formativas en comunicazone a partir del mes de Agosto.
Presupuesto vídeo Alicante, Fotografos Alicante, estudio de fotografos, video publicidad, Foto profesional publicidad, retratos, estudio de fotografia, fotos profesionales, reportajes fotograficos, fotografo profesional, oferta fotografia, presupuesto fotografia online, presupuesto producción cine, ofertas de fotógrafos, publicidad, fotografo, retratos, fotografía publicitaria, foto profesional, fotos de catalogo, niños, fotografo de revista, reportaje publicitario, reportaje social, fotografo cine alicante, video alicante, video profesional, presupuesto fotografia, presupuesto fotografia online, presupuesto video presentación, precio de fotografos en Alicante, oferta book alicante, Book Modelos, Fotografia Creativa, Bautizos, Comuniones, Enlaces, fotografia de desnudos, fotografia erotica, reportaje social, presupuesto fotografia, presupuesto fotógrafo online.
Princesa Rota
Rodaje Princesa Rota Alicante
Rodaje Princesa Rota Alicante
Rodaje Princesa Rota Alicante
Rodaje Princesa Rota
Rodaje Princesa Rota
¿Quieres patrocinar esta Web Serie?
Presupuesto vídeo Alicante, Fotografos Alicante, estudio de fotografos, video publicidad, Foto profesional publicidad, retratos, estudio de fotografia, fotos profesionales, reportajes fotograficos, fotografo profesional, oferta fotografia, presupuesto fotografia online, presupuesto producción cine, ofertas de fotógrafos, publicidad, fotografo, retratos, fotografía publicitaria, foto profesional, fotos de catalogo, niños, fotografo de revista, reportaje publicitario, reportaje social, fotografo cine alicante, video alicante, video profesional, presupuesto fotografia, presupuesto fotografia online, presupuesto video presentación, precio de fotografos en Alicante, oferta book alicante, Book Modelos, Fotografia Creativa, Bautizos, Comuniones, Enlaces, fotografia de desnudos, fotografia erotica, reportaje social, presupuesto fotografia, presupuesto fotógrafo online.
Tagged Web Series
Se vende casa de película
Los propietarios aprovechan las grandes expectativas que produce rodar una película famosa, pero con el mercado a la baja, el plazo de venta puede ser muy largo.
Idealista publica una lista con algunas residencias de película que aún siguen en venta, sin seguir la tendencia exitosa de las películas que protagonizaban.
cuando una vivienda aparece en una película famosa, sus propietarios elevan los precios a cantidades de “de película”. pero la realidad es diferente, como demuestran estas casas, que tras aparecer en películas como “solo en casa”, “el padrino” o “todo en un día” siguen buscando un nuevo dueño
La casa que tuvo que defender un Kevin McCallister de ocho años al quedarse solo en casa un fin de semana, o la mansión donde ‘El Padrino’ amenazó con una cabeza de caballo, son algunas de estas casas que están volviendo locas a las inmobiliarias.
‘Solo en casa’
La casa que defendió el pequeño Kevin McCallister, interpretado por Macaulay Culkinde, con ocho años de edad, se rodó en esta villa ubicada en winnetka, illinois, lleva 21 años en venta, ahora por 2,4 millones de dólares.
‘El Padrino’
La imponente casa donde se celebró la boda de Connie Corleone, hija de ‘El Padrino’ , tuvo lugar en esta imponente casa de Long Island, en la ciudad de Nueva York. Su precio inicial fue de 2,9 millones de dólares, y aunque se ha rebajado el precio en varias ocasiones, los propietarios aún no han conseguido deshacerse de ella.
La otra casa del Padrino
La casa donde Jack Wolz amanece con la cabeza de su caballo preferido al lado también está en venta. Con 29 dormitorios, está valorada actualmente en 95 millones de dólares, hasta ahora solo les han ofrecido 70 millones de dolares.
‘Todo en un día’
Matthew Broderick se toma un día libre con un amigo y su novia para dedicar el día en pasear con un Ferrari de sus padres. La casa en la que aparecen, de Illinois, sigue a la vente. Su precio de partida fue de 2,3 millones de dólares y, aunque se ha rebajado, no se alcanzado algún la venta.
‘Luna Nueva’
La residencia de los Cullen está en venta por 2,48 millones de dólares. Después de hacerse famosa por ser la casa en la que Jasper ataca a Bella durante su fiesta de cumpleaños, los propietarios hicieron una selección de potenciales compradores dado que la primera semana de venta contactaron con 180.000 personas.
‘Hechizo de Luna’
Esta casa fue el escenario de Cher y Nicolas Cage en la comedia romántica que se rodó en 1987. Situada en el barrio de Brooklyn, en Nueva York, se consiguió vender a los dos años de salir al mercado por 3,85 millones de dólares, después de aplicarle una rebaja cercana al millón de dólares.
fuente: http://www.businessinsider.com/six-homes-from-famous-films-for-sale-in-real-life-2011-5