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Complete Guide to Making a Movie : Low Budget and Beyond,9780205507221

Complete Guide to Making a Movie : Low Budget and Beyond

by
Edition:
CD
ISBN13:

9780205507221

ISBN10:
0205507220
Format:
Paperback
Pub. Date:
11/1/2006
Publisher(s):
LONGMAN
List Price: $24.95
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Summary

As a movie maker, you have an overwhelming number of details to handle: How to choose the best location ... Staying on budget ... How to get the most out of actors, extras, and stunt people ... And how to make your vision truly come to life. With the right tool, you can make it happen. The Complete Guide to Making a Movie: Low Budget and Beyond is the definitive guide to making a film or video. Every detail you need is here-from pre-production to post-production-as well as a step-by-step listing of each crew member's duties and responsibilities.

Author Biography

Lorene Wales is currently Chair of the Cinema-Television department at Regent University

Table of Contents

Prefacep. XXV
Prep and Productionp. 1
The Budgetp. 3
Budgeting Softwarep. 4
Budget Structurep. 5
Above-the-Linep. 5
Below-the-Line (Production)p. 5
Post-Productionp. 5
Total Otherp. 6
Starting to Write a Budgetp. 7
Budgeting with Software Packagesp. 7
Spreadsheet Budgetingp. 7
Padding the Budgetp. 13
The Contingencyp. 14
Fringe Benefitsp. 14
Taxesp. 14
Payroll Feesp. 15
Employee Benefitsp. 15
Union Versus Non-Unionp. 15
Becoming Signatoryp. 16
Local Versus Distantp. 16
Budget Disbursement and Trackingp. 17
Disbursing Fundsp. 17
Disbursement Formsp. 19
Managing the Budgetp. 19
Good Budgeting Versus Bad Budgetingp. 21
Budget Line Itemsp. 21
Script Breakdown and Schedulingp. 25
Scheduling a Film: A Step-by-Step Overviewp. 26
The Script Breakdownp. 26
Electronically-Scheduling Softwarep. 26
By Handp. 27
What are the Elements?p. 27
Speaking Cast (Underline in Red)p. 28
Extras/Atmosphere (Underline in Green)p. 28
Silent Bits (Underline in Yellow)p. 28
Props (Underline in Lime) and Set Dressing (Underline in Purple)p. 28
Wardrobe (Circle the Item)p. 28
Makeup (Mark with an Asterisk)p. 28
Stunts (Underline in Orange)p. 29
Special Effects (Underline in Blue)p. 29
Sound Effects (Underline in Brown)p. 29
Special Equipment (Draw a Box around the Action)p. 29
Vehicles and Animals/Livestock (Underline in Pink)p. 29
Music (Underline in Aqua)p. 30
Other Categoriesp. 30
Animal Handlerp. 30
Greeneryp. 30
Securityp. 31
Additional Laborp. 31
Optical Effects/CGIp. 31
Miscellaneousp. 31
Notesp. 31
A Note on Continuityp. 32
Breaking the Script into "Eighths"p. 32
The Breakdown Sheetp. 35
The Strip or Production Boardp. 37
Creating a Schedulep. 37
Scheduling Parametersp. 39
Geographyp. 39
Setp. 39
Cast Membersp. 39
Day/Nightp. 39
EXT/INTp. 40
Sequencep. 40
Childrenp. 40
Time of Year/Climatep. 41
Special Effects and Stuntsp. 41
Second Camera/Second Unitp. 41
Special Equipmentp. 41
Putting the Schedule Togetherp. 42
Schedules to Printp. 42
Shooting Schedulep. 42
Production Schedulep. 42
One-Linerp. 42
Day-Out-of-Daysp. 44
Updating Your Schedulep. 44
Revision Colorsp. 45
The Production Team and Staffp. 48
Executive Producerp. 48
Pre-Productionp. 50
Productionp. 50
Post-Productionp. 50
Line Producerp. 50
Pre-Productionp. 51
Productionp. 51
Post-Production and Wrapp. 52
What Makes a Good Producerp. 52
Dealing with First-Time Directorsp. 53
Associate Producerp. 53
Assistant to the Producerp. 54
Qualities of a Good Assistantp. 54
Unit Production Managerp. 55
Pre-Productionp. 55
Productionp. 55
Post-Production and Wrapp. 56
Qualities of a Good UPMp. 56
Production Office Coordinatorp. 56
Pre-Productionp. 56
Productionp. 57
Wrapp. 57
Qualities of a Good POCp. 57
Local Production Coordinatorp. 57
Assistant Production Office Coordinatorp. 58
Pre-Productionp. 58
Productionp. 58
Wrapp. 59
Qualities of a Good APOCp. 59
Travel/Movementp. 59
Office Production Assistantsp. 61
Receptionistp. 61
Qualities of Good PAs and Production Receptionistsp. 61
Head Accountantp. 62
First Assistant Accountant, Second Assistant Accountant, and Accounting Apprenticep. 62
Qualities of a Good Accounting Staffp. 62
Technical Advisorp. 63
Script Supervisorp. 63
Pre-Productionp. 64
Productionp. 64
Wrapp. 69
Qualities of a Good Script Supervisorp. 69
Safety Officer/Managep. 69
Qualities of a Good Safety Managerp. 69
Product Placementp. 70
The Production Officep. 71
Description of the Production Officep. 71
Blocks of Roomsp. 72
Ample Office Spacep. 72
Proximity to Restaurants and Shopsp. 72
Proximity to Airportp. 72
Room Servicep. 72
Nicer Rooms for Starsp. 72
Refrigeratorsp. 73
Parkingp. 73
Proximity to Locationsp. 73
Laundry Servicep. 73
Setting Up the Officep. 73
Assigning Officesp. 74
Making the Office Operationalp. 74
Running the Production Officep. 76
The Meet-and-Greetp. 76
The Wrap Partyp. 78
Wrapping Out the Production Officep. 78
Production Listsp. 78
The Director's Teamp. 85
Directorp. 85
Pre-Productionp. 85
Productionp. 86
Post-Productionp. 86
First Assistant Directorp. 86
Pre-Productionp. 87
Productionp. 87
Qualities of a Good 1st ADp. 88
The First Assistant Director-Director Relationshipp. 88
What the 1st AD Wants from the Directorp. 88
Production Meetingsp. 91
The Concept Meetingp. 91
The Big Production Meetingp. 91
Second Assistant Directorp. 91
Pre-Productionp. 92
Productionp. 92
A Note on Directing Extrasp. 93
Qualities of a Good 2nd ADp. 93
Walkie-Talkie Etiquettep. 93
Second Second Assistant Director and/or DGA Traineep. 94
Pre-Productionp. 94
Productionp. 94
Qualities of a Good 2nd 2nd or DGA Traineep. 94
Set Production Assistantsp. 95
Pre-Productionp. 95
Productionp. 95
Qualities of a Good Set PAp. 95
Director's Assistantp. 96
Choreographerp. 96
Dialogue Coach/Dialect Coachp. 96
Storyboard Artistp. 97
Set Operationsp. 97
Importance of Calling Rolling and Cutp. 98
At the End of the Dayp. 98
Press Dayp. 99
Closed Setp. 99
Set Protocolp. 99
Production Filesp. 100
AD Paperworkp. 101
The Call Sheetp. 101
The Production Reportp. 102
Casting, Actors, Extras, and Stunt Peoplep. 105
Casting Departmentp. 105
Casting Directorp. 105
Pre-Productionp. 106
Local Casting Directorp. 108
Extras Castingp. 109
Casting Assistantsp. 111
How to Run a Casting Sessionp. 111
Screen Testsp. 113
Rehearsals and Trainingp. 113
Fittingsp. 115
Working With Minorsp. 115
Tutorsp. 115
Working with Parentsp. 116
Working With Animalsp. 117
The Taft-Hartleyp. 117
Categories of Actorsp. 118
Leadsp. 118
Supporting Rolesp. 118
Extrasp. 118
Silent Bits and Special Abilityp. 118
Stand-Insp. 118
Day Players Versus Weekly Playersp. 119
Stuntsp. 119
Stunt Coordinatorp. 119
Pre-Productionp. 119
Productionp. 120
Wrapp. 120
Stuntpersonp. 120
How a Stunt Could Work: A Car Rollp. 120
The Art Departmentp. 122
Production Designerp. 122
Pre-Productionp. 122
Productionp. 123
Wrapp. 124
Art Directorp. 124
Pre-Productionp. 124
Productionp. 124
Wrapp. 124
Set Decoratorp. 124
Pre-Productionp. 124
Productionp. 125
Wrapp. 125
Lead Man and Swing Gangp. 125
Art Department Coordinatorp. 125
Set Designerp. 125
Set Dresserp. 125
Propsp. 126
Pre-Productionp. 126
Productionp. 126
Wrapp. 126
Illustratorp. 126
Draftspersonp. 127
Assistant Propsp. 127
Art Department Production Assistantsp. 127
Assistant to Production Designer and Art Directorp. 127
Construction Coordinatorp. 127
Construction Foremanp. 128
Construction Laborersp. 128
Standby Painterp. 128
Standby Greenspersonp. 128
Operationsp. 128
The Camera Departmentp. 130
Director of Photographyp. 130
Pre-Productionp. 130
Productionp. 131
Wrapp. 131
Camera Operatorp. 132
Productionp. 132
First Assistant Camerapersonp. 132
Second Assistant Camerapersonp. 133
Clapper and Loaderp. 133
Camera Production Assistantp. 133
Video Assistp. 135
Steadicam Operatorp. 136
Special Operatorsp. 136
The Camera Packagep. 137
Operationsp. 137
Stockp. 138
Processing and Printingp. 138
Projection of Dailiesp. 140
Behind-the-Scenes for DVDp. 140
Testsp. 140
Grip and Electricp. 142
Gafferp. 142
Pre-Productionp. 142
Productionp. 143
Wrapp. 143
Best Boy Electricp. 143
Electricians/Electricsp. 143
Generator Operatorp. 144
Rigging Crewp. 144
Key Gripp. 144
Pre-Productionp. 145
Productionp. 145
Wrapp. 145
Best Boy Gripp. 145
Company Gripsp. 145
Dolly Gripp. 145
Crane Operatorp. 146
Operations for Grip and Electricp. 146
The Grip Packagep. 147
The Lighting Packagep. 147
Laying Dolly Trackp. 148
Truck Wrapp. 148
The Sound Departmentp. 150
Sound Mixerp. 150
Pre-Productionp. 151
Productionp. 151
Boom Operatorp. 151
Cable Puller/Personp. 153
Sound Production Assistantp. 153
The Sound Packagep. 153
Operationsp. 154
Playbackp. 154
Special Effects and Visual Effectsp. 156
Special Effectsp. 156
Creature Designp. 156
Creature Manufacturerp. 157
Modelersp. 157
Miniaturesp. 158
Remote Vehiclesp. 158
Miniature Pyrotechnicsp. 158
Matte Paintingp. 158
Traveling Mattep. 158
Full-Scale Physical Effectsp. 158
Weather Effectsp. 159
Special Effects Coordinatorp. 160
Operations on Setp. 160
Visual Effectsp. 161
Visual Effects Producerp. 161
Computer Graphics Supervisorp. 162
Compositing Supervisorp. 162
Compositing Leadp. 162
Compositorsp. 162
Animation Supervisor/Directorp. 162
Animatorsp. 163
Digital Cinematographers/Shadersp. 163
Digital Modelersp. 163
3D Animatorsp. 163
2D Animatorsp. 163
Renderingp. 163
Operationsp. 164
The Wardrobe Departmentp. 165
Costume Designerp. 165
Pre-Productionp. 166
Productionp. 166
Wrapp. 166
Wardrobe Supervisorp. 166
Pre-Productionp. 167
Productionp. 167
Wrapp. 167
Men's Costumer/Women's Costumerp. 169
Seamstressp. 169
Wardrobe Production Assistantp. 169
Assistant to the Costume Designerp. 169
Operationsp. 169
Washing and Returningp. 170
Dressing the Massesp. 171
Makeup and Hairp. 172
Key Makeupp. 172
Pre-Productionp. 172
Productionp. 173
Wrapp. 173
Assistant Makeupp. 173
Additional/Extra Makeupp. 175
Body Makeupp. 175
Special Effects Makeupp. 175
Key Hairp. 176
Pre-Productionp. 176
Productionp. 176
Wrapp. 176
Assistant Hair/Additional Hair/Extra Hairp. 177
Operationsp. 177
Qualities of a Good Makeup and Hair Teamp. 177
Locationsp. 179
Location Managerp. 179
Pre-Productionp. 180
Productionp. 180
Wrapp. 180
Assistant Location Managerp. 181
Location Production Assistantp. 182
Location Scout-The Personp. 182
Location Scout-The Eventp. 183
Location Considerationsp. 183
The Technical Scoutp. 184
Location Determinations on a Tech Scoutp. 185
Mapsp. 186
Security, Firefighters, and Policep. 186
Heating and Air Conditioningp. 187
Shooting on Location Versus in Studio Facilitiesp. 187
Advantages of Shooting on Locationp. 187
Disadvantages of Shooting on Locationp. 187
Advantages of Shooting in a Studiop. 187
Disadvantages of Shooting in a Studiop. 188
Location Paperworkp. 188
Location Agreementp. 188
Certificate of Insurancep. 188
Permitsp. 188
The Transportation Departmentp. 192
Transportation Coordinatorp. 192
Pre-Productionp. 192
Productionp. 193
Wrapp. 194
Transportation Captainp. 195
Dispatcherp. 195
Drivers and Teamstersp. 195
Qualities of a Good Transportation Teamp. 196
Operationsp. 196
Picture Vehiclesp. 197
Production Vehiclesp. 197
Second Unitp. 199
Directorp. 199
Unit Production Manager or Production Office Coordinatorp. 200
First Assistant Directorp. 200
Locationsp. 200
Camerap. 200
Soundp. 201
Other Unitsp. 201
Operationsp. 201
Equipmentp. 201
Paperworkp. 201
Post-Productionp. 203
Editing Picture and Soundp. 205
Post-Production Supervisorp. 205
Editorp. 206
First Assistant Editorp. 211
Second Assistant Editorp. 211
Apprentice Editorp. 212
Sound Designerp. 212
Sound Editorp. 212
Dialogue Editorp. 213
Sound Effects Editorp. 215
Music Editorp. 215
ADR Editorp. 216
Re-Recording Mixersp. 217
Looping/ADRp. 217
What to Do before the Sessionp. 218
What to Do during the Sessionp. 218
different Kinds of Mixesp. 218
The Post-Production Processp. 219
Shooting Film for Release on Film or Videop. 219
Shooting Video for Release on Videop. 220
Main Titles and End Creditsp. 220
Post-Production Film and Labp. 224
Working With the Labp. 224
Negative Cuttingp. 225
The Sound Mixp. 226
Answer Printsp. 226
Release Printsp. 226
The Film Trailerp. 227
Delivery Versionsp. 227
VHSp. 227
DVDp. 227
Musicp. 229
Licensing Rightsp. 229
Music in the Public Domainp. 230
Music Supervisorp. 230
Composerp. 231
Music Package Feep. 231
Conductorp. 231
Arranger/Orchestratorp. 231
Copyistsp. 232
Musiciansp. 232
The Scoring Sessionp. 232
Sound Track Album/CDp. 232
The Rest of the Storyp. 235
Contractualsp. 237
Insurancep. 237
Errors and Omissionsp. 237
Production Packagep. 238
Castp. 238
Negativep. 238
Third Partyp. 238
Faulty Stockp. 238
Autop. 238
Money and Securitiesp. 239
Extra Expensep. 239
Worker's Compensationp. 239
Completion Bondp. 239
The Legal Departmentp. 241
Why You Should Get a Lawyerp. 241
Getting the Right Lawyerp. 241
Clearancesp. 241
Releasesp. 242
Contracts for Cast, Crew, and Servicesp. 243
Publicityp. 246
The Unit Publicistp. 246
The Still Photographerp. 248
Press Dayp. 249
Unions, Guilds, and Associationsp. 251
American Society of Composers, Authors, and Publishers (ASCAP)p. 251
International Alliance of Theatrical Stage Employees (IATSE)p. 252
International Brotherhood of Electrical Workers (IBEW)p. 252
National Association of Broadcast Employees and Technicians (NABET)p. 252
Casting Society of America (CSA)p. 253
Actor's Equity Association (AEA)p. 253
American Federation of Television and Radio Artists (AFTRA)p. 253
International Documentary Association (IDA)p. 254
Director's Guild of America (DGA)p. 254
Writer's Guild of America (WGA)p. 255
Screen Actor's Guild (SAG)p. 255
Academy of Motion Picture Arts and Sciences (AMPAS)p. 256
Academy of Television Arts and Sciences (ATAS)p. 256
Producer's Guild of America (PGA)p. 257
American Association of Producers (AAP)p. 257
American Federation of Musicians (AFM)p. 258
The Film Foundationp. 258
National Association of Broadcasters (NAB)p. 258
American Film Marketing Association (AFMA)p. 258
American Film Market (AFM)p. 259
Motion Picture Association of America (MPAA)p. 260
Motion Picture Association (MPA)p. 260
Guide to the CD-ROMp. 261
Glossaryp. 267
Indexp. 281
Table of Contents provided by Ingram. All Rights Reserved.


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