Producing and directing the short film and video

Producing and Directing the Short Film and Video This page intentionally left blank Producing and Directing the Short Film and Video Fourth Edition Peter W Rea David K Irving AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK # 2010 ELSEVIER Inc All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein) Notices Knowledge and best practice in this field are constantly changing As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein Library of Congress Cataloging-in-Publication Data Irving, David K Producing and directing the short film and video / David K Irving, Peter W Rea – 4th ed p cm Includes bibliographical references and index ISBN 978-0-240-81174-1 (alk paper) Short films–Production and direction Video recordings–Production and direction I Rea, Peter W II Title PN1995.9.P7I75 2010 791.43020 32–dc22 2009046285 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN: 978-0-240-81174-1 For information on all Focal Press publications visit our website at www.elsevierdirect.com 10 11 12 13 14 Printed in the United States of America Contents Web Contents Preface Acknowledgments Introduction Timeline Chapter 1: xi xiii xv xvii xxiii Student Fundraising Strategies Director Pitching the Project The Elevator Challenge Steps to a Successful Pitch Key Points 33 34 34 34 34 35 Script The Creative Producer Developing the Script Do Your Homework What Is a Script? What Does a Script Look Like? Where Do Scripts Come From? How Are Scripts Developed? Adaptation Legalities Basic Guidelines for the Short Form Collaboration 14 What Do You Do Now? 17 True Stories and Events 17 Director 18 Supervising or Performing Rewrites 18 Working with the Writer 18 Director as Storyteller 18 Story Questions 19 Scene Analysis 19 The Shooting Script 19 How Do Scripts Affect Budgets? 20 Animation 20 Documentaries 20 Developing a Web Presence 21 Key Points 22 Chapter 2: Finance 23 Producer Raising the Capital Basic Fundraising Problems Funding Options Do Your Research The Prospectus Spending the Money Responsibly The Digital Prospectus General Fundraising Suggestions Sources for Students 23 23 23 24 26 27 32 32 32 33 Part I Preproduction Chapter 3: Breakdowns 45 Producer Breaking Down the Script Production Book Proper Script Format Breaking Down the Script Director Storyboards and Floor Plans Developing a Shooting Plan The Final Word Key Points 45 45 45 46 46 51 51 52 60 61 Chapter 4: Schedule 63 Producer (as Production Manager) Building a Stripboard General Guidelines Beginning the Schedule Creating the Schedule The First Day Making the Day Shooting During Preproduction Locking the Schedule Call Sheet Scheduling Documentaries Student Scheduling Tips Web Presence for the Project Director Determining the Visual Plan Coverage ¼ Time ¼ Schedule ¼ Budget Contingency Plans for Overages Things Change Key Points 63 63 63 68 69 69 69 71 71 72 74 74 75 75 75 75 76 76 76 v vi Contents Chapter 5: Budget 77 Producer Creating a Budget Production Value Script and Budget Who Creates the Budget? Budgeting Software The Budget Form Beginning the Budget Learn by Doing Director Shooting for the Moon Key Points 77 77 77 78 78 78 78 91 92 93 93 94 Chapter 6: Crewing 95 Producer 95 Hiring the Crew 95 Who Hires the Crew? 95 When Do You Need a Crew? 95 How Big a Crew Do You Need? 95 Selecting the Crew 96 Key Crew Members 98 Developing the Right Chemistry 107 Web Presence 108 Director 108 Hiring the Crew 108 Director’s Disease 109 Key Points 109 Chapter 7: Casting Producer Auditions The Casting Director The Basic Casting Steps Added Benefits of Casting Web Presence Director Auditions Casting Audition Guidelines Casting the Documentary Key Points Chapter 8: 111 Art Direction Producer Assembling the Team Production Design The Art Department Images Can Tell a Story Responsibilities of the Art Department Communication with the DP Set Dressing 111 111 111 112 115 115 115 115 116 117 120 121 123 123 123 123 124 124 125 126 127 Props Wardrobe Makeup Hair Animation The Producer’s Role Web Presence Director Creating a Look Architect of Illusion How to Define the “Look” Breakdowns: Listen to the Script Defining the Space with Visual Ideas Camera Tests Key Points Chapter 9: Location Producer Securing Locations Where to Look for Locations Scouting the Locations Securing the Location Director Scouting Locations Aesthetic Concerns versus Practical Limitations Be Flexible The Power of Illusion Identifying the Location Walk-throughs Key Points 139 139 139 140 142 144 144 144 144 145 146 148 148 149 Chapter 11: Camera Director Collaborate Keeping Up with Technology Style 138 138 138 139 Chapter 10: Rehearsals Director Working on Scenes Before Rehearsals Developing Mutual Trust Researching the Character Back Story Rehearsals Shape the Scene Communicating on the Set Interviews Producer Rehearsal Schedule Key Points 128 130 132 132 133 134 134 135 135 135 136 137 149 149 149 150 150 150 150 152 153 154 155 155 155 157 157 157 157 157 vii Contents Listen to the Material Documentary Do Your Homework Consult with the Director of Photography Camera Team Basic Decisions Film Stock Digital Video Format Tests The Camera as Storyteller The Frame Size of Shot Camera Movement Editing Continuity Second Unit Greenscreen Lighting Style Equipment Video Video Formats Other Equipment Tricks Integrating Animation Producer Support Technical Considerations Key Points 158 158 158 Chapter 12: Sound Director Recording Clean Tracks Why Getting Good Sound Is So Important The Sound Team The Equipment Responsibilities of the Sound Team Approaches to Recording Sound Variables for Placing Microphones Recording Concerns Video Sound Documentary Web Site Information Producer Controlling the Environment Equipment Needs for the Shoot How Big of a Sound Package and Crew Do You Need? Key Points 159 161 161 163 163 164 164 167 170 173 175 177 178 181 182 184 188 192 198 199 200 200 200 201 201 203 203 203 203 204 206 206 210 212 213 214 215 215 215 215 216 216 217 Chapter 13: Art on Set Director Guide Final Walk-through Set Procedures Set Dressing Props Wardrobe Makeup Hair Additional Crew Producer Keeping Track Cover Sets Wrapping Up Key Points 219 219 219 219 219 220 221 222 222 223 223 223 223 224 224 224 Part II Production Chapter 14: Set Procedures Director Inspires Organized Chaos Set Etiquette A Typical Day Camera Moves Video Tap Digital Assistant Slates Calling the Shot Script Supervision Dailies Producer Coordinate Guidelines Proper Wrap Out Key Points 229 Chapter 15: The Actor Director Direct The Process Technical Requirements for the Actor The Director’s Tools Types of Characters Directing Actors Interviewing for Documentaries Producer Accommodating 229 229 229 229 230 234 235 235 235 237 238 239 239 239 240 241 241 243 243 243 243 244 246 246 249 250 251 251 viii Contents Socializing 251 Contracts and Deal Memos 251 Key Points 252 Part III Postproduction Chapter 16: Pix Postproduction Director The “Final Draft” The Director as Editor The Editor The Editor Speaks The Documentary Editor The Editing Process What Is Editing? Evolution of the Edit Locking the Picture Technical Considerations When Editing Film on Video Digital Basics Basic Workflow of a Nonlinear Editing System Editing Sequences Basic Sound Editing Special Digital Video Effects Animation Film to Video The P2 Workflow Producer Advise What You Want from a System? What Is Available? Editing Room Postproduction Schedule Stepping Back and Looking Ahead Key Points Chapter 17: Sound Postproduction 257 257 257 257 258 258 258 258 258 264 266 266 267 271 273 274 275 277 278 280 280 280 280 280 281 281 283 284 285 Director 285 Sound Design 285 What Is Sound Design? 285 Respect for Sound 286 What Is a Soundtrack? 287 Post Flow Options 287 Spotting 289 Dialogue Tracks 290 Automatic Dialogue Replacement (ADR) 291 Walla 293 Voice-overs and Narration 293 Sound Effects Tracks 294 Music Tracks The Mix Different Formats Music Tips for Students and Beginners Producer Supervising Postproduction And Distributors The Moral Key Points 296 300 300 Chapter 18: Finishing/Online/ Laboratory 301 305 305 306 306 306 307 Director The Finished Look The Choices Film Workflow Opticals Cutting the Negative Film Matchback Timing Types of Prints Traditional Linear Video Online Video-to-Film Transfer Nonlinear Online Edit Animation and CGI: Rendering and Compositing Producer Keeping Track and Looking Ahead (and Back If Necessary) Looking Ahead/Key Points 307 307 307 307 308 309 311 311 312 313 313 314 316 317 317 317 Chapter 19: Distribution/Exhibition 319 Producer Launching the Film Start Early: Have A Plan from the Beginning The Markets Exhibition The Internet YouTube iTunes Internet Sites Cell Phones DVD Television Theatrical Markets Nontheatrical Markets Foreign Markets Distribution Options 319 319 320 320 320 322 323 323 323 324 324 324 324 324 326 327 ix Contents Director 330 Publicity 330 The Academy Awards 335 Appendix Appendix Appendix Appendix A B C D A Short History of the Short Genres and Animation Script Sample Screening List Film 337 339 343 351 Appendix E Safety Issues Appendix F Music Clearance and Insurance Appendix G State Film Commissions Appendix H Film and Media Programs Glossary Bibliography Index 355 361 365 369 373 389 395 385 Glossary rough cut A preliminary stage in film editing in which shots, scenes, and sequences are laid out in the correct approximate order, without detailed attention to the individual cutting points royalty fees Money paid to composers, authors, performers, and so on for the use of copyrighted materials shooting script The approved final version of the script with scene numbers, camera setups, and other instructions by the director shot An unbroken filmed segment; the basic component of a scene shotgun microphone See ultracardioid microphone rushes Unedited raw footage as it appears after shooting Also called dailies shutter An opaque device in a film camera that rapidly opens and closes to expose the film to light S-video The S-video signal is one in which the luminance channel is separated from the chrominance signals, but unlike component analog, the chrominance signals are not separate sides Part of a scene given to actors to read during an audition SAG The acronym for the Screen Actors Guild The SAG contract also covers members of Equity (stage actors), AGVA (Variety members), and AFTRA (television actors) sampling frequency In digital recording, the number of times per second that an analog signal is examined For example, 13.5MHz ¼ 13.5 million times per second saturation Amount of color in the television picture scale The base union wage scanning The process by which a video signal is converted into an image that is displayed on the inner surface of a cathode ray gun A stream of electrons emitted by an electron gun within a tube precisely traces this inner surface in a pattern of horizontal lines, illuminating phosphors coating the inner surface and creating the image score Music composed for a specific film or videotape scratch mix A preliminary or trial mixing of sounds against picture scrim A translucent material that reduces, like a screen, the intensity of the light without changing its character script supervisor The person who maintains the continuity in performer actions and prop placements from shot to shot and who ensures that every scene in the script has been recorded SCSI Small computer systems interface Common hardware and software method for connecting computers and peripheral devices (Pronounced “scuzzy.”) SDTV Standard-definition television SECAM (Sequential Couleur a` Me´moire) A TV standard developed by the French and used primarily in France, Russia, and Eastern Europe Like PAL, SECAM has a normal playback of 25fps with a similar scan rate signal-to-noise ratio The ratio of desired to undesired sound, the latter of which usually comes from equipment or tape noise silhouette An outline that appears dark against a light background slating The process of placing, at the beginning or end of a shot, a common reference point for separate but synchronous film images and sounds as well as an identification of the recorded material See also tail slate slaved timecode Timecode that is taken from a source videotape and fed into a timecode generator, which replaces the source code slop print See dirty dupe slow motion The process of photographing a subject at a faster frame rate than used in projection to expand the time element smart slate An electronic slate used in film production that displays an LED readout of the sound reel timecode This allows the film to be quickly synchronized with the sound reel during the telecine transfer SMPTE Society of Motion Picture and Television Engineers, the organization responsible for defining standards and specifications for the motion picture and broadcast industry including SMPTE timecode, NTSC, HDTV, and so on; www.smpte.org SMPTE timecode A binary timecode denoting hours, minutes, seconds, and frames that was standardized by the Society of Motion Picture and Television Engineers snip book A notebook used to store trims without identifiable edge code numbers soft cut A very short dissolve soft light Light made up of soft, scattered rays resulting in soft, less clearly defined shadows Also known as diffuse light setup The combination of lens, camera placement, and composition to produce a particular shot sound effects (SFX) Any sound from any source other than the tracks bearing synchronized dialogue, narration, or music The sound effects track is commonly introduced into a master track during rerecording, usually with the idea of enhancing the illusion of reality in the finished presentation SFX See sound effects sound gain An adjustment to control the sound recording level shading Adjusting the brightness level, light sensitivity, and color of a video camera sound speed The reference to running film or tape at standard speed for any format: film is run at 24fps, NTSC at approximately 30fps (29.97), PAL at 25fps shock-mounted microphone A microphone that is designed to minimize all vibrations and noise except those inherent in sound waves shooting ratio The ratio of the material recorded during production to that which is actually used in the final edited version specular light See hard light split diopter A special filter placed on a camera lens that allows portions of the frame to remain in focus, even though they are beyond the lens’s depth of field 386 splits A shooting period that consists of half a day and half a night of principal photography spotlight A lighting unit, usually with a lens and a shiny metal reflector, that is capable of being focused and produces hard light spot reading A light-meter reading of the intensity of the light reflected by the subject in a very narrow area, as determined by the angle of acceptance of the spot meter spotting The process of viewing a film or video in order to accurately locate the start and stop points for music, sound effects, ADR, and narration spreaders A bracket system for placing pipe or two-by-four lumber to act as a lighting instrument grid sprocket A toothed wheel used to move the perforated motion picture film spun glass A flexible light diffuser made out of fiberglass staging The process of planning how the action of a scene will take place stand-in Someone who takes the place of an actor during setup or for shots that involve special skills, such as horse riding or fight scenes SteadicamW A registered trademark for a servostabilizer camera mount attached to the operator’s body to minimize camera vibrations when the operator moves with the camera SteinbeckTM Brand name of a flatbed film editing machine sting A musical accent to heighten a dramatic moment stock The physical recording medium on which an image or sound is recorded storyboard Semidetailed drawings of what each shot will look like; similar to a multipanel cartoon Glossary superimposition Two images occupying the entire frame at the same time Normally, one image is dominant and the other subordinate during a superimposition to avoid visual confusion The more detailed the images, the less clear and visually pleasing the superimposition is likely to be super objective The overarching thematic purpose of the director’s dramatic interpretation S-VHS A technical improvement over VHS home video format An S-video half-inch format that is comparable with Hi-8 sweetening process Process of mixing sound effects, music, and narration with the edited master’s audio track Also called audio postproduction for video swing crew A team of gaffers or grips that sets the stage, lights, or both for a big or complicated sequence before the main production unit arrives swish pan A rapid turning of the camera on the tripod axis, causing blurring of the image A swish pan can be used as a transition device between scenes switcher A video editing device that controls which picture and sound sources are transmitted or recorded It can be used during multiple-camera production or during postproduction symmetrical compression A compression technique that requires an equal amount of processing power to compress and decompress an image This is important because, in applications designed for editing, the compression of a frame must occur in realtime Decompression of that same frame must also occur in realtime sync Maintaining the corresponding relationship between soundtrack and picture In video, the coordination of the vertical and horizontal blanking pulses with the electron beam of a television or camera so that the picture remains stable both horizontally and vertically streaming A technique for transferring data (audio and video) such that it can be processed as a steady and continuous “stream.” synch rights The rights to record music to be heard as a part of a film stripboard A scheduling device Each shot is represented by a strip of cardboard on which is encoded all the pertinent breakdown information The strips are put in the desired order of shooting and are affixed to a multipanel stripboard This board can then be carried to the set in the event that adjustments need to be made in the schedule T-grainTM A trademarked film and development process of the Eastman Kodak company The T-grain is a grain of silver halide that is rectangular rather than globular, presenting a wider, flatter surface that provides thinner emulsion and more sensitivity subjective point of view A story told from the perspective of a specific character or participant in the action subjective shot A presentation of images supposedly dreamed, imagined, recollected, or perceived in an abnormal state of mind by a character or participant in a videotape or film subtext The underlying personality of a dramatic character as implied or indicated by a script or text and as interpreted by an actor in performance sun gun A high-intensity, portable, battery-powered light It is usually used for news or documentary work supercardioid microphone A microphone with a highly directional pickup pattern synchronizer A film editing device that maintains several picture tracks and soundtracks in sync during the editing process t-stop A calibrating system for determining how much light a lens transmits to a film Unlike f-stop calibration, which measures transmitted light only as a factor of the lens aperture, the t-stop system uses both aperture dimensions and factors of lens absorption and reflection to determine the actual amount of light that will fall on the film T-stops offer a more accurate number tail slate A sync mark used when a scene begins in action or from an extreme close-up, making it difficult to slate from the beginning After the director has called “Cut,” the slate is clapped, upside down, to give the editor a sync mark take A photographic record of each repetition of a scene A particular scene might be photographed more than once in an effort to get a perfect recording of some special action 387 Glossary TBC See time-base corrector telecine system An optical/electronic system for transferring film to videotape Also known as a film chain telephoto lens A long focal-length lens that foreshortens the apparent distance between foreground and background objects telescope story A script or editing device used to make a leap in time tent (1) A tent of heavy black velour drapery that can be rigged around a window to allow a sequence shot during the day to simulate night (2) A box built outside a window that is draped but allows enough room to place a light outside the window, permitting a constant light source to appear through the window theme (1) A central concept, idea, or symbolic meaning in a story (2) A repeated melody in a symphony or long musical composition three- or four-point lighting A basic lighting technique that helps create an illusion of three-dimensionality by separating the subject from the background, using key, fill, and separation lights three stripe The magnetic 35mm film on which the sound is mixed together This full-coat mag has three tracks: one for dialogue, one for sound effects, and one for music Should a track need to be replaced—to make a foreign dub, for example—the remaining two tracks will be undisturbed 3:2 pull-down (2:3) Telecine method of converting 24fps film to 30fps video by transferring each film frame at an alternating rate of two video fields and then three video fields tilt The process of swiveling the camera in a vertical arc, such as tilting it up and down to show the height of a flagpole TV safe The innermost frame outline in the viewfinder is called TV safe, or the area that will be seen when screened on a television monitor Elements outside this frame line may be missed See also reticle Tyler mount A helicopter or airplane camera mount that reduces vibrations ultracardioid microphone A microphone with the most directional (narrowest) pickup pattern available Also known as a shotgun microphone underlying rights The foundational rights that you must control to have the right to make and distribute a film based on a script that is based on an underlying property (such as a novel, short story, play, or true story) upconversion The process of converting lower resolution video to higher resolution video variable-speed motor An electric drive motor for a film camera whose speed can be varied and controlled VCR (videocassette recorder) Usually referring to a tape machine that accepts only cassettes An open reel machine is often referred to as a VTR vectorscope A special oscilloscope used to monitor hue and color saturation in video signals vertical interval timecode (VITC) Timecode that is inserted in the vertical blanking interval of a video signal The vertical blanking interval is the period during which the TV picture goes blank as the electron beam returns (retraces) from scanning one field of video to begin scanning the next video assist A video camera attached to a film camera for instant dailies, allowing the shot to be immediately judged on playback Also known as video tap time-base corrector (TBC) Electronic device used to correct signal instability during the playback of videotape material video gain An adjustment to control the picture recording level timecode A frame monitoring system that provides an exact numerical reference for each frame of film or videotape Timecode is divided into hours, minutes, seconds, and frames video-to-film transfer Copying a videotape on film Also known as kinescoping timing A laboratory process that involves balancing the color of a film to achieve consistency from scene to scene title search A legal process whereby it is determined whether a show title is available for use tracking Speed and angle at which the tape passes the video heads video tap See video assist viewfinder An eyepiece or screen through which a camera operator sees the image being recorded See also reticle visualization The creative process of transforming a script into a sequence of visual images and sounds visual timeline Computer display of the edit decision list as a series of stacked bars representing video and separate audio channels running horizontally across the screen trims The unused pieces of film cut out of a scene They are labeled and stored throughout postproduction until the final prints are struck In video, trimming means subtracting or adding frames from an edit point VO Voice-over See narration trompe l’oeil A style of painting, sometimes used in interior decorating, in which objects are depicted with photographically realistic detail VTC Visual timecode burned into the lower part of the frame for a visual frame accurate reference turnaround The time between ending one day’s work and beginning the next day’s VU meter A device that measures audio levels turret A pivoted plate that allows a choice of lenses to be swung rapidly into position VT Videotape Oxide-coated, plastic-based magnetic tape used for recording video and audio signals VTR Videotape recorder waveform monitor A type of test equipment used to display and analyze video signal information 388 wedge test When an optical is made, a test is done in which the elements of the optical (lap dissolves, superimposition, mattes) are photographed with one frame of each f-stop When the test film is developed, the laboratory can identify the exact exposure reading that will produce the best effect whip pan A very fast panning movement Also called a swish pan white balance Electronic adjustments to render a white object as white on-screen Glossary wipe Special effect transition in which a margin or border moves across the screen, wiping out the image of one scene and replacing it with another wireless/radio microphone A cordless microphone that transmits its output to a recorder via a receiver work print A print derived from the original negative to be used in the editing process to establish, through a series of trial cuttings, the finished version of the film The negative is later conformed to the work print when a final cut is achieved wide-angle lens A lens with a wide angle of acceptance Its effect is to increase the apparent distance between foreground and background objects wrangler An animal trainer and supervisor wild (1) Picture shot without a synchronous relationship to sound (2) Sound shot without a synchronous relationship to picture Y/C (or pseudo-component) Symbol for luminance separated from chroma (color) information; a type of recording used in S-VHS and Hi-8 Also called S-video wild sound Sound that does not have a synchronous picture or recordings of sound effects that are available on the location and may be hard to either obtain or create at a later time windowdupe Copy of an original master recording that features character-generated timecode numbers inserted in the picture zoetrope An optical toy with a series of pictures on the inner surface of a cylinder When the pictures are rotated and viewed through a slit, the toy gives the impression that the pictures are moving This device, a precursor to film projection, was a popular form of entertainment in the nineteenth century windscreen A porous cover that protects a microphone’s diaphragm from air currents zoom lens A lens whose focal length varies between wide and telephoto wrap The period at the end of a day of shooting during which the crew must store the equipment Bibliography/Software/Internet ACTING Hagan, U., & Frankel, H (1973) Respect for Acting New York: Macmillan Meisner, S., & Longwell, D (1987) Sandford Meisner on Acting New York: Vantage Books Moore, S (1965) The Stanislavski System New York: Viking Press Stanislavski, C (1948) An Actor Prepares New York: Theater Arts Stanislavski, C (1981) Building a Character New York: Theater Arts Young, J (1999) The Master Director Discusses His Films (Interviews with Elia Kazan by Jeff Young) New York: Newmarket Press C.G Clarke (Ed.) (1993) American Cinematographer’s Handbook Hollywood: American Society of Cinematographers Brown, B Motion Picture and Video Lighting Focal Press F Detmers (Ed.) (1986) American Cinematographer Manual Hollywood: ASC Press Elkins, D (2000) The Camera Assistant’s Manual Boston: Focal Press Fielding, R (1985) The Technique of Special Effects Cinematography New York: Hastings House Malkiewicz, K J (1989) Cinematography: A Guide for Filmmakers and Film Teachers New York: Prentice-Hall Millerson, G (1982) The Technique of Lighting for Television and Motion Pictures Boston: Focal Press Samuelson, D (1979) Motion Picture Camera Data London: Focal Press Schaffer, D., & Ritsko, A (1984) Masters of Light Berkeley and Los Angeles: University of California Press ANIMATION Blair, P (1989) Animation and How to Animate Film Cartoons New York: Walter Foster Canemaker, J (1987) Felix: The Twisted Tale of the World’s Most Famous Cat New York: Abbeville Press Canemaker, J (1999) Paper Dreams: The Art & Artists of Disney Storyboards New York: Hyperion Layborne, K (1998) The Animation Book New York: Three Rivers Press Solomon, C (1983) The Complete Kodak Animation Book Rochester, NY: Eastman Kodak Co White, T (1986) The Animator’s Workbook New York: Phaidow Press ART DIRECTION Ettedgui, P Production Design and Art Direction (Screen Craft Series) Focal Press LoBrutto, V (1992) By Design Westport, CT: Praeger Olson, R (1993) Art Direction for Film and Television London: Focal Press Preston, W What an Art Director Does Silman James Press, 1994 Rizzo, M The Art Direction Handbook for Film Focal Press CAMERA Almendros, N (1985) Man with a Camera New York: Simon & Schuster Carlson, V., & Carlson, S (1985) Professional Lighting Handbook Boston: Focal Press CRAFTS Baker, P (1992) Wigs and Make-up for Theatre, TV and Film Boston: Focal Press Kehoe, V J- R (1991) Special Make-up Effects Boston: Focal Press Hanke, J., & Yamazaki, M Green Screen Made Easy: Keying and Compositing Techniques for Indie Filmmakers Studio City, CA: Michael Wiese Productions La Motte, R Costume Design 101: The Business and Art of Creating Costumes for Film and Television Studio City, CA: Michael Wiese Productions Maier, R (1994) Location Scouting and Management Handbook: Television, Film, and Still Photography Boston: Focal Press Miller, P P (1990) Script Supervision and Film Continuity Boston: Focal Press DIRECTING Caine, M (1990) Acting in Film: An Actor’s Take on Moviemaking (Videocassette) New York: Applause Theater Book Publishers DeKoven, L (2006) Changing Direction, A Practical Approach to Directing Actors in Film and Theater New York: Focal Press Kingdom, T (2004) Total Directing: Integrating Camera and Performance in Film and Television Silman - James Press Mackendrick, A On Filmmaking: An Introduction to the Craft of the Director Faber and Faber, Inc., 2004 Mamet, D (1991) On Directing New York: Viking Press Proferes, N T (2008) Film Directing Fundamentals Focal Press 389 390 Bibliography/Software/Internet Rabiger, M (1997) Directing, Film Techniques and Aesthetics Boston: Focal Press Travis, M W (1997) The Director’s Journey Studio City, CA: Michael Wiese Productions Weston, J (2001) Crafting Memorable Performances for Film and Television Studio City, CA: Michael Wiese Productions Reisz, K., & Millar, G (1968) The Technique of Film Editing Boston: Focal Press Rosenblum, R., & Karen, R (1979) When the Shooting Stops .the Cutting Begins New York: Da Capo Press Rubin, M (1991) Nonlinear: A Guide to Electronic Film and Video Editing Gainesville, FL: Triad DISTRIBUTION/EXHIBITION FILM AND VIDEO BASICS Bowser, K (1992) The AIVF Guide to International Film and Video Festivals New York: Foundation for Independent Video and Film Council on International Nontheatrical Events (1993–1994) The Worldwide Directory of Film and Video Festivals and Events New York: Council on International Nontheatrical Events Franco, D (1990) Alternative Visions: Distributing Independent Media in a Home Video World Los Angeles, Washington, DC, and New York: American Institute Press Gore, C (1999) The Ultimate Film Festival Survival Guide Los Angeles: Lone Eagle Publishing Warshawski, M (1995) The Next Step: Distributing Independent Films and Videos New York: Foundation for Independent Video and Film Wiese, M (1989) Film and Video Marketing Studio City, CA: Michael Wiese Productions Adams, W B (1977) The Handbook of Motion Picture Production New York: John Wiley & Sons Hurbis-Cherrier, M Voice & Vision: A Creative Approach to Narrative Film and DV Production Focal Press Pincus, E., & Ascher, S (1999) The Filmmaker’s Handbook New York: New American Library, Plume Weise, M., & Weynard, D How Video Works: From Analogue to High Definition Focal Press Wiese, M (1990) The Independent Film and Videomaker’s Guide Boston: Focal Press DOCUMENTARIES Baddeley, W (1975) Hugh The Technique of Documentary Film Production (4th ed.) New York: Hastings House Hewitt, J., & Vazquez, G (2010) Documentary Filmmaking: A Contemporary Field Guide New York: Oxford University Press Ivens, J (1969) The Camera and I Cambridge, MA: MIT Press Rabiger, M (1987) Directing the Documentary Boston: Focal Press Rosenthal, A (1990) Writing, Directing, and Producing Documentary Films Carbondale and Edwardsville: Southern Illinois University Press EDITING Dmytryk, E (1984) On Film Editing Boston: Focal Press Hollyn, N (1990) The Film Editing Room Handbook Los Angeles: Lone Eagle Hollyn, N (2009) The Lean Forward Moment: Create Compelling Stories for Film, TV and the Web New Riders LoBrutto, V (1991) Selected Takes Film Editors on Editing New York: Praeger Murch, W (1995) In the Blink of an Eye Los Angeles: Silman James Press Ohanian, T (1992) Digital Nonlinear Editing Boston: Focal Press Oldam, G (1995) First Cut: Conversations with Film Editors Los Angeles: University of California Press O’Steen, S Cut to the Chase: Forty-Five Years of Editing America’s Favorite Movies Studio City, CA: Michael Weise Productions GRANTS The Foundation Center (site for grants) fdcenter.org L Gibbs (Ed.) (1992) National Alliance for Media Arts and Culture Member Directory Beverly Hills: NAMAC Niemeyer, S (1991) Money for Film and Video Artists New York: American Council for the Arts/Allworth Press Renz, L (1987) The Foundation Directory New York: Foundation Center Warshawski, M (1994) Shaking the Money Tree: How to Get Grants and Donations for Film and Video Hollywood: Michael Wiese Productions THE INDUSTRY Eaker, S (1991) The Back Stage Handbook for Performing Artists, revised and enlarged ed New York: Watson-Guptill, Back Stage Books Kindem, G (1982) The American Movie Industry: The Business of Motion Pictures Carbondale and Edwardsville: Southern Illinois University Press Litwak, M (1986) Reel Power New York: William Morrow Mayer, M F (1978) The Film Industries: Practical Business/ Legal Problems in Production, Distribution and Exhibition New York: Hastings House Squires, J (1983) The Movie Business Book New York: Simon & Schuster, Touchstone MUSIC FOR FILM Bell, D (1994) Getting the Best Score for Your Film Silman James Press Carlin, D., Sr (1991) Music in Film and Video Production Boston: Focal Press Karlin, F., & Wright, R (1990) On the Track: A Guide to Contemporary Film Scoring New York: Schirmer Books 391 Bibliography/Software/Internet Pendergast, R M (1992) Film Music: A Neglected Art New York: W W Norton Thomas, T (1973) Music for the Movies South Brunswick, NJ: A S Barnes Singleton, R S (1984) The Film Scheduling/Film Budgeting Workbook Los Angeles: Lone Eagle Wiese, M (1991) Film and Video Financing Boston: Michael Wiese Productions/Focal Press ON FILMMAKERS REFERENCES Behlmer, R (1972) Memo from David O Selznick New York: The Viking Press Bogdanovich, P (1997) Who the Devil Made It: Conversations with Legendary Directors Alfred A Knopf Bun˜uel, L (1986) My Last Breath London: Flamingo Press Capra, F (1971) The Name Above the Title New York: The Macmillan Company Kurosawa, A (1983) Something Like an Autobiography New York: Vintage Books Lumet, S (1995) Making Movies New York: Alfred E Knopf Tirard, L Moviemakers’ Master Class: Private Lessons from the World’s Foremost Directors Faber and Faber Truffaut, F (1967) Hitchcock New York: Simon & Schuster Brook’s Standard Rate Book (1994) Los Angeles: Stanley J Brooks [Union rates and rules.] 310-470–2849 Donaldson, M C (1991) Clearance & Copyright, Everything the Independent Filmmaker Needs to Know Los Angeles: Silman-James Press Konigsberg, I (1997) The Complete Film Dictionary London: Meridian The New York Production Manual (1997) New York: Producer’s Masterguide Singleton, R (1986) Filmmaker’s Dictionary Los Angeles: Lone Eagle PRE-VISUALIZATION Alten, S R (1981) Audio in Media Belmont, CA: Wadsworth Anderson, C (1986) MIDI for Musicians New York: Amsco Publications Holman, T (2005) Sound for Digital Video Focal Press LoBrutto, V (1994) Sound-on-Film Interviews with Creators of Film Sound Praeger Mott, R L (1990) Sound Effects: Radio, TV and Film Boston: Focal Press Nisbett, A (1990) The Use of Microphones Boston: Focal Press Sonnenschein, D (2001) The Expressive Power of Music, Voice and Sound Effects in Cinema Boston: Michael Wiese Productions E Weis, & J Belton, (Eds.) (1985) Film Sound: Theory and Practice New York: Columbia University Press Viers, R The Sound Effects Bible How to Create and Record Hollywood Style Sound Effects Yewdall, D L (1999) Practical Art of Motion Picture Sound Boston: Focal Press Block, B The Visual Story: Seeing the Structure of Film, TV and New Media Focal Press Dunn, L G (1983) The ASC Treasury of Visual Effects Hollywood: American Society of Cinematographers Katz, S D (1991) Film Directing: Shot by Shot Studio City, CA: Michael Wiese Productions Nilsen, V (1985) The Cinema as Graphic Art New York: Hill & Wang Foreword by S M Eisenstein Simon, M Storyboards: Motion in Art Focal Press PRODUCING Baumgarten, P., Farber, D., & Fleisher, M (1992) Producing, Financing and Distributing Film, revised and updated ed New York: Limelight Chamness, D (1988) The Hollywood Guide to Film Budgeting and Script Breakdown for Low Budget Features Hollywood: Stanley J Brooks Curran, T (1985) Financing Your Film: A Guide for Independent Film Producers Westport, CT: Praeger Davies, S (1986) The Independent Producer: Film and Television London: Hourcourt, Howlett, Davies, Moskovic, Faber & Faber Goodell, G (1982) Independent Feature Film Production: A Complete Guide from Concept through Distribution New York: St Martin’s Gregory, M (1979) Making Films Your Business New York: Schocken Books Litvak, M Contracts for the Film and Television Industry Silman—James Press Simon, D., & Wiese, M (2006) Film and Video Budgets Boston: Michael Wiese Productions/Focal Press Singleton, R S (1991) Film Scheduling: Or, How Long Will It Take to Shoot Your Movie? Los Angeles: Lone Eagle SOUND ONLINE SOUND LIBRARIES Many web sites are dedicated to sound effects and music Many offer royalty-free effects and music Sounddogs.com and sonomic.com are two of the largest online sound effects libraries on the Internet SoundFX.com distributes the Sound Effects Libraries, Music Libraries, and Pro-Audio Software worldwide Soundrangers.com was created to fulfill the sonic needs of a new technological generation It specializes in generating state-of-the-art, royalty-free sound effects and music for such high-tech platforms as virtual user interfaces, games, online and CD-ROM entertainment, web sites, and communication devices Soundsonline.com is a source for professional, copyrightcleared, royalty-free sounds in the industry offering more than 1,000 virtual instruments and sound libraries to choose from 392 VIDEO Beacham, F (1994) American Cinematographer Video Manual Hollywood: American Society of Cinematographers Press Huber, D M (1987) Audio Production Techniques for Video White Plains, NY: Knowledge Industry Publishing Mathias, H., & Patterson, R (1985) Electronic Cinematography: Achieving Photographic Control over the Video Image Belmont, CA: Wadsworth Millerson, G (1992) Video Production Handbook Boston: Focal Press Ratcliff, J (1999) Timecode, A User’s Guide Oxford: Focal Press Watkinson, J (1994) The Art of Digital Video Boston: Focal Press Wiese, M (1986) Home Video: Producing for the Home Market Westport, CT: Michael Wiese Film/Video WRITING Armer, A (1985) Writing the Screenplay for Film and Television Belmont, CA: Wadsworth Cowgill, L J (1997) Writing Short Films Los Angeles: Lone Eagle Eisenstein, S M (1988) The Short Fiction Scenario Methuen: Calcutta, Seagull Books Goldman, W (1984) Adventures in the Screen Trade New York: Warner Books Howard, D., & Mabley, E (1995) The Tools of Screenwriting New York: St Martin’s Press McKee, R (1997) Story: Substance, Structure, Style and the Principals of Screenwriting New York: Harper Collins Phillips, W H (1991) Writing Short Scripts Syracuse: Syracuse University Press Seger, L (1987) Making a Good Script Great Hollywood: Samuel French PERIODICALS/NEWSLETTERS American Cinematographer Backstage Film Comment Millimeter Variety (daily or weekly) Videomaker www.videomaker.com Video Magazine Bibliography/Software/Internet Scriptware, Cinovation, Inc (http://scriptware.com) Script WizardTM (www.warrenassoc.com) INTERNET Databases www.lib.berkeley.edu/mrc/africanamvid.html African-American Video Media Resource Center www.film.com www.frameline.org Exhibition, distribution, promotion, and funding of lesbian and gay film and video www.indiewire.com/onthescene/festivals indieWIRE’s festival page www.imdb.com Internet Movie Database Utterly comprehensive www.lcweb.loc.gov Library of Congress: Links to copyright and film preservation board www.netspace.net.au/haze/index.html RML Movie Page: Comprehensive; tons of links on films, schools, resources, and so on, based in Australia www.Screenwriter.com Comprehensive screenwriters’ resource center with links to top script sites Casting Resources http://aftra.org www.backstage.com http://breakdownservices.com http://nowcasting.com http://reelact.com www.Sagindie.org Screen actors’ guide to low-budget agreements Festivals www.creativeplanet.com www.filmfestivals.com www.variety.com/filmfest www.withoutabox.com Industry The Hollywood Reporter online: www.hollywoodreporter.com Variety online www.variety.com SCREENWRITING SOFTWARE Production Final Draft (http://finaldraft.com) HollyWordW & SidebySideW Simon Skill Systems (http:// simon1.com) Movie Magic Screenwriter, Screenplay Systems (www.screenplay.com) Film Underground.com: Resource for low-budget film- and videomakers www.filmunderground.com Mandy’s International Film and TV Production Directory: Listings of jobs, services, and free homepage service for film/TV professionals, arranged by state www.mandy.com 393 Bibliography/Software/Internet New York City Mayor’s Office of Film, Theatre, and Broadcasting www.ci.nyc.ny.us/html/filmcom/home.html New York Production Guide Online: www.nypg.com Producer’s Masterguide Online: www.producers.masterguide com Producer’s Source: Excellent film resources, www.producerssource.com Resource site created by Kevin Spacey www.triggerstreet.com Web Distribution www.AtomFilms.com www.Hollywood.com www.ifilm.com www.inetfilm.com www.indiefilmpage.com/short.html www.shockwave.com www.zeroland.co.nz/film_short.html This page intentionally left blank Index Note: Page numbers followed by f indicate figures; b indicate boxes A Actor director as audience, 250 call time, 243–244 continuity, 249 direction, 243 documentary, 250–251 final staging, 244 interview questions, 251 makeup and hair, 244 novice directors, 250 special situations, 248–249 stand-ins, 244 technical requirements, 244–246 tools, 246 types of characters, 246–249 producer accommodation, 251 contracts and deal memos, 251–252 socialization, 251 Animal mortality, 364 Art director additional crew, 223 final walk-through, 219 guide, 219 hairdress, 223 makeup, 222–223 props, 221–222 set dressing, 220–221 set procedures, 219–220 wardrobe, 222 producer cover sets, 224 schedule and budget monitor, 223–224 types of set items, 223–224 wrapping up, 224 Art direction director architect of illusion, 135–136 camera tests, 138 creating a look, 135 defining the space, 137–138 listening to the script, 137 “look” aspect, 136 producer animation, 133–134 art budget, 126f art department, 124 assembling team, 123 budget review, 134 construction schedule, 134 consulting the actors, 130–131 continuity and script time, 132 director of photography consultation, 132 duplicate costumes, 132 duplicate props, 129 duplicate set items, 128 hairdressers, 132–133 images telling story, 124–125 keeping tabs on weekly spending, 134 makeup, 132 on-screen food, 129–130 production design, 123–124 property master, 129–130 question all requests, 134 script requirements, 125 set dressing, 127–128 special effects makeup, 132 specialty garb, 131–132 stages and locations, 125 wardrobe designer, 130–132 weapons, 129 web presence, 135 Art director potential evaluation, 102 related crew costume designer, 103 costumer or wardrobe supervisor, 103 hairstylist, 103 makeup artist, 103 storyboard artist, 103–104 support crew art department coordinator, 103 construction coordinator, 103 property master, 103 scenic artist, 103 set decorator, 103 set dresser, 103 Auditions, 115–116 evaluation callbacks, 119 happy accidents, 119–120 keeping an open mind, 118 stamina and concentration, 118 videotaping, 119 guidelines, 117–120 types of improvisation, 118 monologue, 118 sides, 117 Automatic dialogue replacement (ADR), 291–293 B Breakdown sheet preparation breakdowns, 46–50 budget, 50–51 color-coding, 50 filling sheet header, 48–49 lining the script, 49–50 schedule, 50 stripboard preparation, 50 strip sheet, 51f Budget director, 93–94 producer budget form (see Standardized budget form) budgeting software, 78 creation, 77 information is power, 91–92 learning by doing, 92–93 process, 91 production value, 77 responsibility of, 78 script and budget, 78 C Camcorder, 188–189 Camera director analog formats, 192–193 aspect ratio, 187 black-and-white, 162 camcorder, 188–189 camera movement, 174–177 camera team, 161 camera terms, 187–188 collaboration, 157 color control, 162–163 color palette, 162 component vs composite video, 190–192 composition, 168–169 continuity, 178–180 coverage ¼ shot list, 165–166 decisions, 161–163 digital impact, 192 digital video format, 163–164 digital videotape formats, 193–194 documentary, 158 DV, DVCam, and DVCPRO, 194–195 editing, 177–178 eye level placement, 164, 164f film camera, 185 film formats, 185–187 filmic style, 157–158 395 396 Camera (Continued) film stock, 163 focus, 169–170 frame, 168–170 greenscreen, 182 grip package, 199 high-angle shot, 165, 166f high-definition television (HD), 195–198 integrating animation, 200 interlaced scanning, 189–190 lens, 171 lighting basics, 182–185 lighting package, 199–200 lighting style, 182–185 low angle shot, 164–165, 165f monitor, 189 notebook, 160f objective/subjective shot, 165 overlapping action, 178 postproduction, 161 preproduction, 158, 159 principal photography, 158 production, 159–160 second unit, 180–182 shot perspectives, 171–174 shot size, 170–174 shot types, 166–168 tapeless shooting, 198–199 tape stock, 198 technology, 157 tests, 164 tricks, 200 video camera, 188 visual style, 158 visual vocabulary, shots, 164 producer equipment, 200–201 laboratory, 200 rental house, 201 technical considerations, 201–202 Casting director auditions (see Auditions) benefits of the casting session, 120 casting children, 116–117 documentary casting, 120–121 nonaudition, 120 producer added benefits, 115 advertising specific roles, 112–113 auditions, 111 callbacks arrangement, 114 casting calls arrangement, 113–114 casting director, 111–112 contact state film commissions, 113 dealing with rejected actors, 115 head shots and re´sume´, 113 negotiating with selected actors, 114–115 scout acting schools, 113 scout local theater companies, 113 web presence, 115 Cast insurance, 363 Comprehensive liability, 362 Computer nonlinear systems, 365 Index Copyright law, 9–10 Crewing director director’s disease, 109 hiring, 108–109 producer animator hiring, 106 assistant director, 104 attracting the right people, 97 caterer, 99 developing the right chemistry, 108 digital assistant, 104–105 directors of photography (see Directors of photography) documentary crews, 107 evaluating credits, 97 flow chart, 96f group chemistry, 96 hiring, 95 interns, 106–107 location manager, 99 negotiating the deal, 98 prep time, 95 production assistant, 106 production coordinator, 98–99 production designer (see Art director) production manager, 98–99 production sound mixer, 105–106 3–30 rule, 96 specialty crew, 107 transportation captain, 99 video shoots, 107 web presence, 108 D Deal memo, 98 Dialogue tracks automatic dialogue replacement (ADR), 291–293 background changes, 290 background noise, 290 camera perspectives, 290 clean and dirty tracks, 290 control levels, 290 dialogue cutting, 291 impact, 293 mixing different conversations, 291 narration refinement, 294 overlapping dialogue, 291 telephone conversations, 291 voice-overs and narration, 293–294 walla dialogue, 293 Digital intermediate process, 307, 314 Digital videotape formats, 193–194 Director actor (see Actor) art (see Art) art direction (see Art direction) budget (see Budget) camera (see Camera) casting (see Casting) crewing (see Crewing) distribution/exhibition (see Distribution/ exhibition) finance (see Financial issues) finishing/online/laboratory (see Finishing/ online/laboratory) location (see Location) pix postproduction (see Pix postproduction) rehearsals (see Rehearsals) script development (see Script writing) set procedures (see Set procedures) shooting schedule (see Shooting schedule) sound (see Sound) sound postproduction (see Sound postproduction) Directors of photography lighting for the camera, 102 moving the camera, 102 operating the camera, 101 potential evaluation, 100 role of, 99 support crew, 101–102 troubleshooting, 101 Distribution/exhibition director Academy Awards, 335–336 Citizen, 331b Crazy Glue, 334b The Lunch Date, 332b Mirror Mirror, 335b A Nick in Time, 330b publicity, 330–335 Truman, 334b Internet, 322–323 producer cell phones, 324 digital photos, 320 distributor, 327–328 DVD, 324 exhibition, 320–322 festivals, and promotion materials, 320 film launching, 319–320 foreign markets, 327 Internet, 322–323, 324 iTunes, 323–324 nontheatrical markets, 325–327 self-distribution, 327 television, 324 theatrical markets, 324–325 YouTube, 323 Documentary casting, 120–121 E Electrical tie-ins, 358 Electron beam recorder (ERB), 313 Equipment, camera aspect ratio, 187 camera terms, 187–188 film camera, 185 film formats, 185–187 grip package, 199 lighting package, 199–200 F Film and media programs film schools, 370b fledgling communication, 369 graduate and undergraduate degrees, 369, 370 video communication, 369 Financial issues director 397 Index elevator challenge, 34 pitching the project, 34 steps to successful pitch, 34–35 producer bank loans, 26 corporate sponsorship, 26 digital prospectus, 32 fiscal sponsorship, 24–25 fundraising (see Fundraising, producer) in-kind services and donations, 26 personal savings, 26 private foundation grants, 25 private investors, 24 prospectus (see Prospectus) public foundation grants, 25–26 raising capital, 23 responsible money spending, 32 sources for students, 33 Finishing/online/laboratory director acquisition format, 307 animation and CGI, 316–317 color correction, 307 digital intermediate process, 307 film matchback, 311 film workflow, 307–308 finished look, 307 linear video online, 313 negative cutting, 309–311 nonlinear online edit, 314–316 optical effects, 308–309 print types, 312–313 spectacular visual effects, 307 timing, 311–312 video-to-film transfer, 313–314 producer keeping track, 317 looking ahead, 317–318 Fundraising, producer problems, 23–24 student strategies, 33–34 suggestions, 32–33 G Genre festivals, 321 Genres animation, 339 commercials, 340–341 corporate, 340 experimental, alternative, avant garde, 339–340 music videos, 341 Guild/union travel accident, 363 H High-definition television (HD), 195–198 I Insurance, 362–364 Internet, 322–323, 324 iTunes, 323–324 K Kinetoscope, 337 L Ladders, 357 Legalities, script copyright law, 9–10 noncommercial/festival rights, original material, rights and adaptations, 8–9 Lighting grid, 359 Lip-syncing, 71 Location director aesthetic concerns vs practical limitations, 144–145 being open and flexible, 145 day or night scene, 147 interior or exterior, 146–147 near or distant location, 147–148 power of illusion, 145–146 practical location, 147 scouting locations, 144 stage use, 147 walk-throughs, 148 producer catering, 144 communication, 143 company moves, 144 finding locations, 139–140 insurance, 143 location contract, 142–143 location fee, 143 parking, 143 permits, 143 scouting the locations (see Location scout) securing for the shoot, 139 transportation, 143 Location scout backups, 142 green room and other special areas, 141–142 lighting, 141 location checklist, 141 power source, 141 proximity, 142 safety and security, 142 sound team, 141 M Master use license, 361 Miscellaneous equipment, 362 Motion picture/television guild, 363 Murphy’s law, 362 Music rights, 361–362 Music tracks function, 296–297 impact, 297 motion picture experience, 296 music team, 297–298 original score, 298 preexisting music, 300 source, 296 Music videos, 341 N Negative film, 363 NLE systems, 266 Nonlinear editing system, 271–274, 280, 281 Nontheatrical markets educational market, 325–326 fictional and nonfictional films, 325 institutional market, 326–327 P Pix postproduction director advantages, 269 analog vs digital system, 268 animation, 277–278 basic sound editing, 275 broadcast quality, 269 clip capturing and organizing, 272 29.97 complication, 279 creative steps, 258 definition, 258–264 digital compression, 270–271 digitizing, 272–273 documentary editor, 258 editor, 257–258 electronic feedback, 261 film match-back issues, 277 final draft, 257 interface and time line, 274 The Lunch Date, 265 nonlinear editing system, 271–274 pacing, 261 performing real-time vs rendered effects, 277 picture locking, 266–267 picture restructure, 261 P2 workflow, 280 resolution, 269 rough cut analysis, 260 sampling rate, 268–269 screening, video dailies, 259 second cut screening, 261–262 SMPTE timecode, 267 sound designer/sound effects editor, 275 speed, NLE systems, 266 story refinement, 262–264 story screening, 260–261 story shaping, 259–260 technical considerations, editing, 267 telecine, 278–279 third-party graphics applications, 277 titles creation, 276–277 tone shifts, 265–266 types, 275–276 video dailies, 279–280 producer Adobe Premiere Suite, 281 amultilayered soundtrack, 281 Avid Media Composer vs Final Cut Pro, 281 editing room, 281 nonlinear editing system, 280, 281 novice filmmakers, 280 Pinnacle Studio 12 Plus, 281 postproduction schedule, 281–284 Roxie Creator 2010, 281 Sony Vegas Movie Studio, 281 stepping back and looking ahead, 284 as supervisor, 280 Postproduction computer nonlinear systems, 365 director, 253–254 film and linear video editing, 365 398 Postproduction (Continued) HD P2 workflow, 256f, 365 home system impact, 254 producer, 253 shoot film, edit digital, finish film, 255f, 365 tape-to-film transfer, 365 timecode, 365 University film and television programs, 365 Preproduction camera, 158, 159 good script, 40 guidelines, 40–41 Internet access, 41 production meetings, 41 quality time, 40 sample preproduction schedule, 41–43 shoot date preparation, 39–40 student producer—director conundrum, 37–38 Producer actor (see Actor) art (see Art) art direction (see Art direction) budget (see Budget) camera (see Camera) casting (see Casting) crewing (see Crewing) distribution/exhibition (see Distribution/ exhibition) finance (see Financial issues) finishing/online/laboratory (see Finishing/ online/laboratory) location (see Location) pix postproduction (see Pix postproduction) prospectus creation (see Prospectus) rehearsals (see Rehearsals) script breakdown (see Script breakdown) script development (see Script writing) set procedures (see Set procedures) shooting schedule (see Shooting schedule) sound (see Sound) sound postproduction (see Sound postproduction) Production basic principles, 227 Gestalt mentality, 225 principal photography, 225–226 producer’s responsibility, 225 safety officer, 227 safety on set, 226–227 Prospectus brief re´sume´s of creative team, 31 cast list, 31 cover letter, 27 digital, 32 director’s statement, 28–29 financial statement, 31 letter from fiscal sponsor, 31 letters of support, 31 market for project description, 31 means of transferring funds, 31 one-liner, 27–28 presentation, 33 press clippings, 31 production schedule, 31 project history, 31 Index research, 31 synopsis of story, 29–31 table of contents, 28 title page, 27 top sheet of budget, 31 Public performance rights, 361 Pyrotechnics, 357 R Rehearsals director back story, 150 benefits of, 150–151 blocking action, 152 comic acting, 154 communicating on the set, 153–154 developing mutual trust, 150 developing theme, 151 discovering beats, 152–153 improvisation, 153 interviews, 154 keeping notes, 151 pace and rhythm, 153 read-through of the script, 151 before rehearsals, 149 researching the character, 150 scene by scene, 151–152 special situations, 152 taping the rehearsals, 152 understatement, 154 untrained actors, 154 working on scenes, 149 producer finalising contracts, 155 logistics and planning schedule, 155 S Safety issues animals in film, 360 general safety guidelines, 355–357 length of shoot day, 360 light safely, 358–359 in studio, 359 stunts, prop weapons and pyrotechnics, 357–358 weather conditions, 359–360 Scaffolds, 357 Screening list animation, 353 classic silent shorts, 353–354 documentaries, 352 DVD collection, 351 early shorts, filmmakers, 351–352 experimental/avant garde/poetic, 352 Internet collection, 351 short films, 351 tales collection, 351 Script breakdown director developing shooting plan (see Shooting plan) storyboards and floor plans, 51–52, 53f, 54f producer logistical repercussions, 45 production book, 45–46 proper script format, 46 script breakdown sheet, 47f steps followed (see Breakdown sheet preparation) Scripts Citizen, 3–7 Crazy Glue, 7–8 The Lunch Date, 343–350 Script writing director animation, 20 developing Web presence, 22 director as storyteller, 18–19 documentaries, 20–21 scene analysis, 19 scripts affecting budgets, 20 shooting script, 20 story questions, 19 supervising or performing rewrites, 18 working with a writer, 18 format, producer adaptation, 7–8, 17–18 categories of script, 6–7 dramatic expectations, 17 finding plot and characters, 15–16 legalities (see Legalities, script) making the internal external, 16–17 rewriting, 15 securing a script, short form guidelines (see Short form) sources of script, 4–6 studying shorts, true stories and events, 18 understanding story, 15 working with a writer, 14–15 workshopping idea, script definition, Set procedures director action! cut!, 237 call sheet, A Nick in Time, 231f camera moves, 234–235 course of event, 230–234 dailies, 239 digital assistant, 235 gray card, 236 in-camera slates, 237 informal slates, 237 inspiration, 229 organized chaos, 229 script supervision, 238–239 set etiquette, 229–230 slate lights, 237 slating procedure, 236 smart slates, 236–237 tail slates, 237–238 video slates, 238 producer coordination, 239–240 guidelines, 240–241 proper wrap out, 241 Shooting plan dramatic beats, 55–57 floor plans, 58 knowing character needs, 55 knowing the script, 53–55 knowing the theme, 55 399 Index locations and set study, 57 main characters history, 55 making a shot list, 60 settling on pacing and tone, 57 storyboarding, 58–59 visual style determination, 57 workshop ideas on video, 57–58 Shooting schedule director contingency plans for overages, 76 coverage-time-schedule-budget, 75–76 visual plan determination, 75 producer animation, 68 beginning the schedule, 69 call sheet, 72–74 cast, 65–66 child actors, 66–67 continuity of sequences, 66 creating the schedule, 69 crowd sequences, 67–68 exteriors, 66 the first day, 69 fixed dates, 64–65 locations, 65 locking the schedule, 72 making the day, 69–71 night shooting, 66 scheduling documentaries, 74 shooting during preproduction, 71 shooting out, 66 special effects, stunts, and animals, 67 special equipment, 68 stripboard building, 63 student scheduling tips, 74–75 time of year, 67 turnaround, setup time, and swing crews, 68 weather conditions, 67 web presence for the project, 75 Short film documentary, 338 Kinetoscope, 337 motion pictures, 337 Short form central theme, 10 conflict, 10–11 dramatic arc or spine, 11–12 follow-through, 13 images before words, 14 internal motives, external action, 14 length, 10 major character, 13 minimum back story, 13–14 no talking heads, 14 primary event, 12–13 SMPTE timecode, 267 Sound director boom, 210 boom operator, 205 communication on set, 209 dialogue, 206–207 equipment, 206 fishpoles, 210–211 lavaliere, 211 microphone placement, 212–213 overhead boom, 211 perspective, 207 plants/stash, 211 playback/music video, 208–209 production sound, 203–204 production sound mixer, 204–205 radio microphones, 212 recording clean tracks, 203 recording concerns, 213–214 room tone, 208 sound effects, 208 sound recording consistency, 207–208 sound report, 209–210 supplementary sound, 208 video shoots, 210 web site information, 215 producer environment control, 215–216 equipment needs, 216 sound package and crew, 216–217 Sound postproduction director dialogue tracks, 290–291 different formats, 302 mixing procedure, 300–301 music tracks, 296–300 post flow options, 287–289 respect for sound, 286–287 sound design, 285, 288–289 sound effects tracks, 294–296 sound equals space, 286 soundtrack, 287 spotting process, 289–290 students and beginners music tips, 303–305 producer distributors, 306 moral, 306 supervision, 305–306 Special digital video effects animation, 277–278 film match-back issues, 277 performing real-time vs rendered effects, 277 third-party graphics applications, 277 titles creation, 276–277 types, 275–276 Spectacular visual effects, 307 Standardized budget form above-the-line costs cast, 82–83 nonunion talent, 82 producer/director, 82 screen actors guild, 82 script and rights, 81–82 accounts, 78 below-the-line costs art department, 86–87 basic decisions, 83–84 contingency, 91 crew, 84–86 editing, 89 equipment, 86 film and laboratory, 88–89 insurance, 90 laboratory postproduction, 90 location, 87–88 office expenses, 90 petty cash, 91 postproduction sound, 89–90 production department staff, 84 profit, negative cost and deferred fees, 83 shoot on film, 84 shoot on video, 84 workflow format, 83 detailed budget, 79 sample budget, 80f top sheet, 79f State film commissions, 365–368 Storyteller, camera camera movement, 174–177 composition, 168–169 continuity, 178–180 coverage ¼ shot list, 165–166 editing, 177–178 eye level placement, 164, 164f focus, 169–170 frame, 168–170 greenscreen, 182 high-angle shot, 165, 166f lens, 171 lighting basics, 182–185 lighting style, 182–185 low angle shot, 164–165, 165f objective/subjective shot, 165 overlapping action, 178 second unit, 180–182 shot perspectives, 171–174 shot size, 170–174 shot types, 166–168 visual vocabulary, shots, 164 Synchronization rights, 361 T Technical requirements, actor apple boxes, 245–246 hitting marks, 245 lenses, 244–245 locations, 246 Third-party property damage liability, 362 V Video camcorder, 188–189 component vs composite video, 190–192 digital impact, 192 interlaced scanning, 189–190 monitor, 189 video camera, 188 Video communication, 369 Video formats analog formats, 192–193 digital videotape formats, 193–194 DV, DVCam, and DVCPRO, 194–195 high-definition television (HD), 195–198 tapeless shooting, 198–199 tape stock, 198 Videotape, 363 Y YouTube, 323 [...]... fact, the success of any film project relies as much on management as it does on storytelling Knowing where to put the camera to capture the right dramatic moment of a scene requires as much skill as marshaling the necessary people, equipment, and supplies to the location in the first place One can’t happen without the other THE ORGANIZATION OF THE BOOK Producing and Directing the Short Film and Video. .. support the director’s work and the director is the authority figure on the shoot, the director answers to the producer However, the producer complements the director’s work When the director’s decisions affect the budget or the schedule, she consults the producer The responsibilities of the producer and director often overlap Ideally, the director and producer should be able to work well together and. .. teachers are failure and success Experiencing the process of putting together a project, building work muscles, and understanding the craft and discipline of the process are ultimately the best ways to develop your skills THE POWER OF THE MEDIA Finally, your short film has the potential to influence a great many people Both media have gained great exposure in the past 20 years, and their potential is... Fax: 212-925-2052 Area of specialty: Films and videos by women about women email: info@wmm.com THE FILMMAKERS SPEAK Culled from hours of interviews, relevant quotes from the six short filmmakers have been inserted to support the specific topic of each chapter We hope that these pearls of wisdom will personalize their experience in producing and directing the short films we use as case studies in our... Working with the DP and art director, the director chooses the locations, and the producer secures them If a site cannot be secured for the amount allotted in the budget, a new or backup location is explored Rehearsals Rehearsal Schedule Working on Scenes The producer organizes and plans the rehearsal schedule The director uses the rehearsal period to work with the actors to develop their roles and explore... Direct The producer organizes the cast schedule and is responsible for the cast’s morale The primary role of the director is to create a supportive and creative environment on set POSTPRODUCTION Picture Advise Edit The “Final Draft” The director and editor cut the picture and sound to make the best film possible from what was captured on set The producer acts as an objective viewer and advises the editing... ambition, greed, and guilt—that are experienced and shared worldwide The universal quality of these ideas and emotions helps ensure that the audience will relate to the material on a deeper level than the plot Without this unifying ingredient, there is no purpose or meaning to the work |1 Script The theme represents the reason why you want to make the film in the first place: to say something about the human... give filmmakers an opportudnity to express themselves, display their talent, and develop filmmaking skills; to experiment with the medium; or to provide a stepping stone to a career in film and television The key advantage to making a short is learning the filmmaking process on a project of manageable scale If the work turns out well, shorts can be entered into any of the hundreds of national and international... Creating a Budget Shooting for the Moon The second document made from the breakdowns is the budget The budget defines the parameters of what can or cannot be achieved although the director will usually want to “shoot for the moon” Crewing Hiring the Crew Hiring the Crew The crew must be to the mutual liking of both the producer and the director Once a crew member is chosen, the producer negotiates his... the role of the film director has taken on a romanticized image The director shouts “Action,” and the whole set swings into motion The director chats with actors between takes and enjoys posh dinners after the day’s wrap In reality, the director’s work is never done Because her job is to supply the creative vision for a one-of-a-kind and essentially handmade product, the choice and effect of thousands .. .Producing and Directing the Short Film and Video This page intentionally left blank Producing and Directing the Short Film and Video Fourth Edition Peter W Rea... between the structure of the story and the film The short story is told through the husband’s point of view Tatia shifted the focus and presented the action through the wife’s point of view in the film. .. on the floor.” I took the box from her and peered at it And there, look at the window They didn’t even bother to hang the blinds the other way They’re upside-down, if he’s really standing on the