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Complete Guide to Film and Digital Production The People and The Process

by
Edition:
2nd
ISBN13:

9780205078622

ISBN10:
0205078621
Media:
Paperback
Pub. Date:
7/7/2011
Publisher(s):
Pearson
List Price: $52.00

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Summary

Now available in an updated, 2ndedition, The Complete Guide to Film and Digital Production: The People and The Process ,2/e,discusses the entire production process for film and digital media, and provides you with a comprehensive view of production in the field, at live events, for mobile content and for animation.#xA0; This book covers all aspects of the production process and readers learn the nuts and bolts of film and digital production from pre-production through delivery. This edition will make your production experience more marketable to an ever-expanding and converging industry.

Table of Contents

Preface      xxv

PART I PREP AND PRODUCTION           

 

CHAPTER ONE

 

The Producer’s Job

 

Pre-Production

Production

Post-Production

 

Line Producer

Pre-Production

Production

Post-Production and Wrap

 

ASSOCIATE PRODUCER

ASSISTANT TO THE PRODUCER

Qualities of a Good Assistant

 

ACQUIRING THE SCRIPT

 

WORKING WITH WRITERS

 

WORKING WITH FIRST TIME DIRECTORS

 

PRODUCING IN THE FIELD

 

PRODUCING LIVE EVENTS

 

PRODUCING DOCUMENTARY

 

PRODUCING MOBILE CONTENT

 

PRODUCING ANIMATION

 

DISTRIBUTION

 

SUMMARY

CHAPTER TWO

Script Breakdown and Scheduling    

SCHEDULING A FILM: A STEP-BY-STEP OVERVIEW           

THE SCRIPT BREAKDOWN               

Electronically–Scheduling Software          

By Hand      

WHAT ARE THE ELEMENTS?             

Speaking Cast (Underline in Red)               

Extras/Atmosphere (Underline in Green)   

Silent Bits (Underline in Yellow)                

Props (Underline in Lime) and Set Dressing (Underline in Purple)            

Wardrobe (Circle the Item)         

Makeup (Mark with an Asterisk)  

Stunts (Underline in Orange)      

Special Effects (Underline in Blue)             

Sound Effects (Underline in Brown)           

Special Equipment (Draw a Box around the Action)        

Vehicles and Animals/Livestock (Underline in Pink)      

Music (Underline in Aqua)         

OTHER CATEGORIES         

Animal Handler           

Greenery     

Security       

Additional Labor         

Optical Effects/CGI or Visual Effects        

Miscellaneous             

Notes           

A NOTE ON CONTINUITY              

BREAKING THE SCRIPT INTO “EIGHTHS”     

THE BREAKDOWN SHEET 

THE STRIP OR PRODUCTION BOARD           

CREATING A SCHEDULE             

SCHEDULING PARAMETERS            

Geography  

Set                               

Cast Members             

Day/Night   

EXT/INT    

Sequence      

Children       

Time of Year/Climate          

Special Effects and Stunts           

Second Camera/Second Unit       

Special Equipment      

PUTTING THE SCHEDULE TOGETHER             

SCHEDULES TO PRINT      

Shooting Schedule       

Production Schedule    

One-Liner    

Day-out-of-Days        

UPDATING YOUR SCHEDULE          

Revision Colors           

SUMMARY           

 

CHAPTER Three

The Budget    

BUDGETING SOFTWARE       

BUDGET STRUCTURE         

Above-the-Line           

Below-the-Line (Production)      

Post-Production          

Total Other         

STARTING TO WRITE A BUDGET         

Budgeting with Software Packages             

Spreadsheet Budgeting            

PADDING THE BUDGET      

The Contingency           

FRINGE BENEFITS               

Taxes           

Payroll Fees    

Employee Benefits      

UNION VERSUS NON-UNION           

BECOMING SIGNATORY      

LOCAL VERSUS DISTANT     

BUDGET DISBURSEMENT AND TRACKING          

Disbursing Funds        

Disbursement Forms   

MANAGING THE BUDGET              

GOOD BUDGETING VERSUS BAD BUDGETING            

BUDGET LINE ITEMS           

SUMMARY           

CHAPTER four

The Production Team and Staff         

UNIT PRODUCTION MANAGER       

Pre-Production            

Production   

Post-Production and Wrap         

Qualities of a Good UPM           

PRODUCTION OFFICE COORDINATOR        

Pre-Production            

Production   

Wrap           

Qualities of a Good POC            

LOCAL PRODUCTION COORDINATOR        

ASSISTANT PRODUCTION OFFICE COORDINATOR    

Pre-Production            

Production   

Wrap           

Qualities of a Good APOC         

TRAVEL/MOVEMENT          

OFFICE PRODUCTION ASSISTANTS               

RECEPTIONIST    

Qualities of Good PAs and Production Receptionists       

HEAD ACCOUNTANT         

FIRST ASSISTANT ACCOUNTANT, SECOND ASSISTANT ACCOUNTANT, AND ACCOUNTING APPRENTICE   

Qualities of a Good Accounting Staff         

TECHNICAL ADVISOR      

SCRIPT SUPERVISOR        

Pre-Production            

Production   

Wrap           

Qualities of a Good Script Supervisor        

SAFETY OFFICER/MANAGER            

Qualities of a Good Safety Manager           

PRODUCT PLACEMENT     

SUMMARY           

CHAPTER Five

The Production Office  

THE PRODUCTION OFFICE              

Blocks of Rooms         

Ample Office Space    

Proximity to Restaurants and Shops          

Proximity to Airport   

Room Service              

Nicer Rooms for Stars           

Refrigerators        

Parking        

Proximity to Locations       

Laundry Service          

SETTING UP THE OFFICE         

Assigning Offices        

Making the Office Operational   

RUNNING THE PRODUCTION OFFICE            

THE MEET-AND-GREET       

THE WRAP PARTY              

WRAPPING OUT THE PRODUCTION OFFICE               

PRODUCTION LISTS          

SUMMARY           

CHAPTER six

The Director’s Team and nd Unit

DIRECTOR           

Pre-Production            

Production   

Post-Production          

FIRST ASSISTANT DIRECTOR           

Pre-Production            

Production   

Qualities of a Good st AD          

THE FIRST ASSISTANT DIRECTOR—DIRECTOR RELATIONSHIP

What the st AD Wants from the Director        

PRODUCTION MEETINGS           

The Concept Meeting 

The Big Production Meeting       

SECOND ASSISTANT DIRECTOR     

Pre-Production            

Production   

A Note on Directing Extras         

Qualities of a Good nd AD         

WALKIE-TALKIE ETIQUETTE             

SECOND SECOND ASSISTANT DIRECTOR AND/OR DGA TRAINEE          

Pre-Production            

Production   

SET PRODUCTION ASSISTANTS      

Pre-Production            

Production   

Qualities of a Good nd nd’s, DGA Trainees and Set PA’s           

DIRECTOR’S ASSISTANT      

CHOREOGRAPHER           

DIALOGUE COACH/DIALECT COACH          

STORYBOARD ARTIST      

SET OPERATIONS               

Importance of Calling Rolling and Cut        

At the End of the Day        

CLOSED SET        

SET PROTOCOL       

THE SET BOX

AD PAPERWORK        

The Call Sheet             

The Production Report         

 

Second Unit    

DIRECTOR           

UNIT PRODUCTION MANAGER OR PRODUCTION OFFICE COORDINATOR        

FIRST ASSISTANT DIRECTOR           

LOCATIONS        

CAMERA               

SOUND 

OTHER UNITS      

OPERATIONS      

EQUIPMENT         

PAPERWORK      

SUMMARY           

CHAPTER SEVEN

Casting, Actors, Extras, and Stunt People   

CASTING DEPARTMENT     

CASTING DIRECTOR         

Pre-Production            

LOCAL CASTING DIRECTOR           

EXTRAS CASTING               

CASTING ASSISTANTS      

HOW TO RUN A CASTING SESSION          

SCREEN TESTS     

REHEARSALS AND TRAINING          

FITTINGS              

WORKING WITH MINORS       

Tutors         

Working with Parents             

WORKING WITH ANIMALS              

THE TAFT-HARTLEY            

CATEGORIES OF ACTORS               

Leads           

Supporting Roles        

Extras          

Silent Bits and Special Ability    

Stand-Ins     

DAY PLAYERS VERSUS WEEKLY PLAYERS       

STUNTS             

STUNT COORDINATOR     

Pre-Production            

Production   

Wrap           

STUNTPERSON    

HOW A STUNT COULD WORK: A CAR ROLL              

SUMMARY           

CHAPTER EIGHT

The Art Department  

PRODUCTION DESIGNER         

Pre-Production            

Production   

Wrap           

ART DIRECTOR       

Pre-Production            

Production   

Wrap           

SET DECORATOR               

Pre-Production            

Production   

Wrap           

LEAD MAN AND SWING GANG        

ART DEPARTMENT COORDINATOR

SET DESIGNER     

SET DRESSER       

PROPS  

Pre-Production            

Production   

Wrap           

ILLUSTRATOR     

DRAFTSPERSON           

ASSISTANT PROPS             

ART DEPARTMENT PRODUCTION ASSISTANTS            

ASSISTANT TO PRODUCTION DESIGNER AND ART DIRECTOR

CONSTRUCTION COORDINATOR     

CONSTRUCTION FOREMAN            

CONSTRUCTION LABORers          

STANDBY PAINTER             

STANDBY GREENSPERSON              

OPERATIONS      

SUMMARY           

CHAPTER NINE

The Camera Department      

DIRECTOR OF PHOTOGRAPHY      

Pre-Production            

Production   

Wrap           

CAMERA OPERATOR         

Production   

FIRST ASSISTANT CAMERAPERSON               

SECOND ASSISTANT CAMERAPERSON         

CLAPPER AND LOADER    

CAMERA PRODUCTION ASSISTANT              

VIDEO ASSIST     

STEADICAM OPERATOR   

SPECIAL OPERATORS       

THE CAMERA PACKAGE   

OPERATIONS      

STOCK  

PROCESSING AND PRINTING          

DAILIES                                          

BEHIND-THE-SCENES FOR DVD       

TESTS    

SUMMARY           

CHAPTER TEN

Grip and Electric       

GAFFER             

Pre-Production            

Production   

Wrap           

BEST BOY ELECTRIC         

ELECTRICIANS/ELECTRICS              

GENERATOR OPERATOR            

RIGGING CREW           

KEY GRIP             

Pre-Production            

Production   

Wrap           

BEST BOY GRIP          

COMPANY GRIPS              

DOLLY GRIP       

CRANE OPERATOR            

OPERATIONS FOR GRIP AND ELECTRIC       

THE GRIP PACKAGE          

THE LIGHTING PACKAGE 

LAYING DOLLY TRACK    

TRUCK WRAP     

SUMMARY           

CHAPTER ELEVEN

The Sound Department         

SOUND MIXER     

Pre-Production            

Production   

BOOM OPERATOR            

CABLE PULLER/PERSON         

SOUND PRODUCTION ASSISTANT       

THE SOUND PACKAGE      

OPERATIONS      

PLAYBACK          

SUMMARY           

CHAPTER TWELVE

Special Effects and Visual Effects     

SPECIAL EFFECTS               

Creature Design           

Creature Manufacturer        

Modelers     

Miniatures   

Remote Vehicles          

Miniature Pyrotechnics              

Matte Painting            

Traveling Matte          

Full-Scale Physical Effects          

Weather Effects           

SPECIAL EFFECTS COORDINATOR

OPERATIONS ON SET        

VISUAL EFFECTS 

VISUAL EFFECTS PRODUCER          

OPERATIONS      

SUMMARY           

CHAPTER THIRTEEN

The Wardrobe Department   

COSTUME DESIGNER         

Pre-Production            

Production   

Wrap           

WARDROBE SUPERVISOR       

Pre-Production            

Production   

Wrap           

MEN’S COSTUMER/WOMEN’S COSTUMER       

SEAMSTRESS       

WARDROBE PRODUCTION ASSISTANT        

ASSISTANT TO THE COSTUME DESIGNER       

OPERATIONS      

OTHER ISSUES    

SUMMARY           

CHAPTER FOURTEEN

Makeup and Hair      

KEY MAKEUP       

Pre-Production            

Production   

Wrap           

OTHER MAKEUP PERSONNEL          

KEY HAIR             

Pre-Production            

Production   

Wrap           

ASSISTANT HAIR/ADDITIONAL HAIR/EXTRA HAIR       

OPERATIONS      

QUALITIES OF A GOOD MAKEUP AND HAIR TEAM          

SUMMARY           

CHAPTER FIFTEEN

Locations       

LOCATION MANAGER      

Pre-Production            

Production   

Wrap           

ASSISTANT LOCATION MANAGER             

LOCATION PRODUCTION ASSISTANT          

LOCATION SCOUT–THE PERSON     

LOCATION SCOUT–THE EVENT     

Location Considerations             

THE TECHNICAL SCOUT

Location Determinations on a Tech Scout        

MAPS    

LOCATION SERVICES       

SHOOTING ON LOCATION VERSUS IN STUDIO FACILITIES    

Advantages of Shooting on Location          

Disadvantages of Shooting on Location      

Advantages of Shooting in a Studio            

Disadvantages of Shooting in a Studio        

LOCATION PAPERWORK       

Location Agreement    

Certificate of Insurance               

Permits        

SUMMARY           

CHAPTER SIXTEEN

The Transportation Department       

TRANSPORTATION COORDINATOR              

Pre-Production            

Production   

Wrap           

TRANSPORTATION CAPTAIN           

MORE TRANSPORTATION CREW   

QUALITIES OF A GOOD TRANSPORTATION TEAM     

OPERATIONS      

PICTURE VEHICLES           

PRODUCTION VEHICLES         

SUMMARY           

PART II POST-PRODUCTION       

CHAPTER SEVENTEEN

Editing Picture and Sound     

POST-PRODUCTION SUPERVISOR    

EDITOR         

ASSISTANT EDITORS

SOUND DESIGNER              

SOUND EDITOR  

DIALOGUE EDITOR            

SOUND EFFECTS EDITOR            

MUSIC EDITOR   

ADR EDITOR        

RE-RECORDING MIXERS           

LOOPING/ADR    

What to Do before the Session   

What to Do during the Session   

THE SOUND MIX

THE POST-PRODUCTION PROCESS               

Shooting Film for Release on Film              

WORKING WITH THE LAB               

NEGATIVE CUTTING           

Shooting Digitally

MAIN TITLES AND END CREDITS          

SUMMARY           

CHAPTER EIGHTEEN

Music 

LICENSING RIGHTS           

MUSIC IN THE PUBLIC DOMAIN     

MUSIC SUPERVISOR         

COMPOSER         

MUSIC PACKAGE FEE        

CONDUCTOR      

ARRANGER/ORCHESTRATOR         

COPYIST              

THE SCORING SESSION

SOUND TRACK ALBUM     

SUMMARY           

PART III THE REST OF THE STORY       

CHAPTER nineteen

Contractuals and Other Matters       

INSURANCE         

Errors and Omissions  

Production Package     

Cast             

Equipment

Negative

Third Party 

Faulty Stock

Auto            

Money and Securities 

Extra Expense              

 

Worker’s Compensation          

COMPLETION BOND         

THE LEGAL DEPARTMENT 

Why You Should Get a Lawyer      

Getting the Right Lawyer           

CLEARANCES      

RELEASES             

CONTRACTS FOR CAST, CREW, AND SERVICES        

PUBLICITY           

The Unit Publicist       

The Still Photographer        

PRESS DAY          

SUMMARY           

CHAPTER TWENTY

Miscellaneous    

CRAFT SERVICES               

THE CRAFT SERVICE PERSON         

Pre-Production            

Production   

Choices for Good Craft Services         

CATERING            

Hiring Catering Companies         

The Last Supper         

SET FIRST AID      

Emergency Procedures            

SET MASsage therapist

PRODUCTION ETIQUETTE 

UNIONS, GUILDS, AND ASSOCIATIONS       

American Society of Composers, Authors, and Publishers (ASCAP)       

International Alliance of Theatrical Stage Employees (IATSE)       

International Brotherhood of Electrical Workers (IBEW)          

National Association of Broadcast Employees and Technicians (NABET)              

Casting Society of America (CSA)             

Actor’s Equity Association (AEA)            

American Federation of Television and Radio Artists (AFTRA)              

International Documentary Association (IDA)          

Director’s Guild of America (DGA)           

Writer’s Guild of America (WGA)             

Screen Actor’s Guild (SAG)       

Academy of Motion Picture Arts and Sciences (AMPAS)        

Academy of Television Arts and Sciences (ATAS)   

Producer’s Guild of America (PGA)          

American Federation of Musicians (AFM)        

The Film Foundation  

National Association of Broadcasters (NAB)            

American Film Marketing Association (AFMA)       

Motion Picture Association of America (MPAA)     

SUMMARY           

Glossary         

Index  



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