CART

(0) items

The People and Process of Film and Video Production From Low Budget to High Budget,9780205375219
This item qualifies for
FREE SHIPPING!

FREE SHIPPING OVER $59!

Your order must be $59 or more, you must select US Postal Service Shipping as your shipping preference, and the "Group my items into as few shipments as possible" option when you place your order.

Bulk sales, PO's, Marketplace Items, eBooks, Apparel, and DVDs not included.

The People and Process of Film and Video Production From Low Budget to High Budget

by
Edition:
1st
ISBN13:

9780205375219

ISBN10:
0205375219
Format:
Paperback
Pub. Date:
9/16/2004
Publisher(s):
Pearson
List Price: $116.60
More New and Used
from Private Sellers
Starting at $1.33
See Prices

Rent Textbook

We're Sorry
Sold Out

Used Textbook

We're Sorry
Sold Out

eTextbook

We're Sorry
Not Available

New Textbook

We're Sorry
Sold Out

Related Products


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




Summary

The People and Process of Film and Video Productiondiscusses the entire production process for film and video projects, including a comprehensive list of jobs for both low and high budget productions. From student projects to major studio features, this text covers all the aspects of the production process from the determining the budget to post-production and personnel. Each chapter examines a specific department on a film or video production and outlines the duties and responsibilities of each member of the crew throughout the production process. The text shows how the people and processes are different depending on the budget level of the project. Students will learn the nuts and bolts of how a film or video is made, from pre-production through delivery.

Author Biography

Lorene Wales is an assistant professor at Regent University.

Table of Contents

Preface xxv
PART I PREP AND PRODUCTION
1(202)
The Budget
3(22)
Budgeting Software
4(1)
Budget Structure
5(2)
Above-the-Line
5(1)
Below-the-Line (Production)
5(1)
Post-Production
5(1)
Total Other
6(1)
Starting to Write a Budget
7(6)
Budgeting with Software Packages
7(1)
Spreadsheet Budgeting
7(6)
Padding the Budget
13(1)
The Contingency
14(1)
Fringe Benefits
14(1)
Taxes
14(1)
Payroll Fees
15(1)
Employee Benefits
15(1)
Union Versus Non-Union
15(1)
Becoming Signatory
16(1)
Local Versus Distant
16(1)
Budget Disbursement and Tracking
17(2)
Disbursing Funds
17(2)
Disbursement Forms
19(1)
Managing the Budget
19(2)
Good Budgeting Versus Bad Budgeting
21(1)
Budget Line Items
21(1)
Summary
21(4)
Script Breakdown and Scheduling
25(23)
Scheduling a Film: A Step-by-Step Overview
26(1)
The Script Breakdown
26(1)
Electronically---Scheduling Software
26(1)
By Hand
27(1)
What Are the Elements?
27(3)
Speaking Cast (Underline in Red)
28(1)
Extras/Atmosphere (Underline in Green)
28(1)
Silent Bits (Underline in Yellow)
28(1)
Props (Underline in Lime) and Set Dressing (Underline in Purple)
28(1)
Wardrobe (Circle the Item)
28(1)
Makeup (Mark with an Asterisk)
28(1)
Stunts (Underline in Orange)
29(1)
Special Effects (Underline in Blue)
29(1)
Sound Effects (Underline in Brown)
29(1)
Special Equipment (Draw a Box around the Action)
29(1)
Vehicles and Animals/Livestock (Underline in Pink)
29(1)
Music (Underline in Aqua)
30(1)
Other Categories
30(2)
Animal Handler
30(1)
Greenery
30(1)
Security
31(1)
Additional Labor
31(1)
Optical Effects/CGI
31(1)
Miscellaneous
31(1)
Notes
31(1)
A Note on Continuity
32(1)
Breaking the Script into ``Eighths''
32(3)
The Breakdown Sheet
35(2)
The Strip or Production Board
37(1)
Creating a Schedule
37(2)
Scheduling Parameters
39(3)
Geography
39(1)
Set
39(1)
Cast Members
39(1)
Day/Night
39(1)
EXT/INT
40(1)
Sequence
40(1)
Children
40(1)
Time of Year/Climate
41(1)
Special Effects and Stunts
41(1)
Second Camera/Second Unit
41(1)
Special Equipment
41(1)
Putting the Schedule Together
42(1)
Schedules to Print
42(2)
Shooting Schedule
42(1)
Production Schedule
42(1)
One-Liner
42(2)
Day-out-of-Days
44(1)
Updating Your Schedule
44(3)
Revision Colors
45(2)
Summary
47(1)
The Production Team and Staff
48(23)
Executive Producer
48(2)
Pre-Production
50(1)
Production
50(1)
Post-Production
50(1)
Line Producer
50(3)
Pre-Production
51
Production
50(2)
Post-Production and Wrap
52(1)
What Makes a Good Producer
52(1)
Dealing with First-Time Directors
53(1)
Associate Producer
53(1)
Assistant to the Producer
54(1)
Qualities of a Good Assistant
54(1)
Unit Production Manager
55(1)
Pre-Production
55(1)
Production
55(1)
Post-Production and Wrap
56(1)
Qualities of a Good UPM
56(1)
Production Office Coordinator
56(1)
Pre-Production
56(1)
Production
57(1)
Wrap
57(1)
Qualities of a Good POC
57(1)
Local Production Coordinator
57(1)
Assistant Production Office Coordinator
58(1)
Pre-Production
58(1)
Production
58(1)
Wrap
59(1)
Qualities of a Good APOC
59(1)
Travel/Movement
59(2)
Office Production Assistants
61(1)
Receptionist
61(1)
Qualities of Good PAs and Production Receptionists
61(1)
Head Accountant
62(1)
First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice
62(1)
Qualities of a Good Accounting Staff
62(1)
Technical Advisor
63(1)
Script Supervisor
63(6)
Pre-Production
64(1)
Production
64(5)
Wrap
69(1)
Qualities of a Good Script Supervisor
69(1)
Safety Officer/Manager
69(1)
Qualities of a Good Safety Manager
69(1)
Product Placement
70(1)
Summary
70(1)
The Production Office
71(14)
Description of the Production Office
71(2)
Blocks of Rooms
72(1)
Ample Office Space
72(1)
Proximity to Restaurants and Shops
72(1)
Proximity to Airport
72(1)
Room Service
72(1)
Nicer Rooms for Stars
72(1)
Refrigerators
73(1)
Parking
73(1)
Proximity to Locations
73(1)
Laundry Service
73(1)
Setting Up the Office
73(3)
Assigning Offices
74(1)
Making the Office Operational
74(2)
Running the Production Office
76(1)
The Meet-and-Greet
76(2)
The Wrap Party
78(1)
Wrapping Out the Production Office
78(1)
Production Lists
78(1)
Summary
78(7)
The Director's Team
85(20)
Director
85(1)
Pre-Production
85(1)
Production
86(1)
Post-Production
86(1)
First Assistant Director
86(2)
Pre-Production
87(1)
Production
87(1)
Qualities of a Good 1st AD
88(1)
The First Assistant Director-Director Relationship
88(3)
What the 1st AD Wants from the Director
88(3)
Production Meetings
91(1)
The Concept Meeting
91(1)
The Big Production Meeting
91(1)
Second Assistant Director
91(2)
Pre-Production
92(1)
Production
92(1)
A Note on Directing Extras
92(1)
Qualities of a Good 2nd AD
93(1)
Walkie-Talkie Etiquette
93(1)
Second Second Assistant Director and/or DGA Trainee
94(1)
Pre-Production
94(1)
Production
94(1)
Qualities of a Good 2nd 2nd or DGA Trainee
94(1)
Set Production Assistants
94(1)
Pre-Production
95(1)
Production
95(1)
Qualities of a Good Set PA
95(1)
Director's Assistant
95(1)
Choreographer
96(1)
Dialogue Coach/Dialect Coach
96(1)
Storyboard Artist
96(1)
Set Operations
97(1)
Importance of Calling Rolling and Cut
98(1)
At the End of the Day
98(1)
Press Day
98(1)
Closed Set
99(1)
Set Protocol
99(1)
Production Files
100(1)
AD Paperwork
101(1)
The Call Sheet
101(1)
The Production Report
102(1)
Summary
102(3)
Casting, Actors, Extras, and Stunt People
105(17)
Casting Department
105(1)
Casting Director
105(3)
Pre-Production
106(2)
Local Casting Director
108(1)
Extras Casting
109(2)
Casting Assistants
111(1)
How to Run a Casting Session
111(2)
Screen Tests
113(1)
Rehearsals and Training
113(2)
Fittings
115(1)
Working with Minors
115(2)
Tutors
115(1)
Working with Parents
116(1)
Working with Animals
117(1)
The Taft-Hartley
117(1)
Categories of Actors
118(1)
Leads
118(1)
Supporting Roles
118(1)
Extras
118(1)
Silent Bits and Special Ability
118(1)
Stand-Ins
118(1)
Day Players Versus Weekly Players
119(1)
Stunts
119(1)
Stunt Coordinator
119(1)
Pre-Production
119(1)
Production
120(1)
Wrap
120(1)
Stuntperson
120(1)
How a Stunt Could Work: A Car Roll
120(1)
Summary
121(1)
The Art Department
122(8)
Production Designer
122(2)
Pre-Production
122(1)
Production
123(1)
Wrap
124(1)
Art Director
124(1)
Pre-Production
124(1)
Production
124(1)
Wrap
124(1)
Set Decorator
124(1)
Pre-Production
124(1)
Production
125(1)
Wrap
125(1)
Lead Man and Swing Gang
125(1)
Art Department Coordinator
125(1)
Set Designer
125(1)
Set Dresser
125(1)
Props
126(1)
Pre-Production
126(1)
Production
126(1)
Wrap
126(1)
Illustrator
126(1)
Draftsperson
127(1)
Assistant Props
127(1)
Art Department Production Assistants
127(1)
Assistant to Production Designer and Art Director
127(1)
Construction Coordinator
127(1)
Construction Foreman
128(1)
Construction Laborers
128(1)
Standby Painter
128(1)
Standby Greensperson
128(1)
Operations
128(1)
Summary
129(1)
The Camera Department
130(12)
Director of Photography
130(2)
Pre-Production
130(1)
Production
131(1)
Wrap
131(1)
Camera Operator
132(1)
Production
132(1)
First Assistant Cameraperson
132(1)
Second Assistant Cameraperson
133(1)
Clapper and Loader
133(1)
Camera Production Assistant
133(2)
Video Assist
135(1)
Steadicam Operator
136(1)
Special Operators
136(1)
The Camera Package
137(1)
Operations
137(1)
Stock
138(1)
Processing and Printing
138(2)
Projection of Dailies
140(1)
Behind-The-Scenes for DVD
140(1)
Tests
140(1)
Summary
141(1)
Grip and Electric
142(8)
Gaffer
142(1)
Pre-Production
142(1)
Production
143(1)
Wrap
143(1)
Best Boy Electric
143(1)
Electricians/Electrics
143(1)
Generator Operator
144(1)
Rigging Crew
144(1)
Key Grip
144(1)
Pre-Production
145(1)
Production
145(1)
Wrap
145(1)
Best Boy Grip
145(1)
Company Grips
145(1)
Dolly Grip
145(1)
Crane Operator
146(1)
Operations for Grip and Electric
146(1)
The Grip Package
147(1)
The Lighting Package
147(1)
Laying Dolly Track
148(1)
Truck Wrap
148(1)
Summary
149(1)
The Sound Department
150(6)
Sound Mixer
150(1)
Pre-Production
151(1)
Production
151(1)
Boom Operator
151(2)
Cable Puller/Person
153(1)
Sound Production Assistant
153(1)
The Sound Package
153(1)
Operations
154(1)
Playback
154(1)
Summary
155(1)
Special Effects and Visual Effects
156(9)
Special Effects
156(3)
Creature Design
156(1)
Creature Manufacturer
157(1)
Modelers
157(1)
Miniatures
157(1)
Remote Vehicles
158(1)
Miniature Pyrotechnics
158(1)
Matte Painting
158(1)
Traveling Matte
158(1)
Full-Scale Physical Effects
158(1)
Weather Effects
159(1)
Special Effects Coordinator
159(1)
Operations on Set
160(1)
Visual Effects
160(1)
Visual Effects Producer
161(1)
Computer Graphics Supervisor
161(1)
Compositing Supervisor
161(1)
Compositing Lead
162(1)
Compositors
162(1)
Animation Supervisor/Director
162(1)
Animators
162(1)
Digital Cinematographers/Shaders
162(1)
Digital Modelers
162(1)
3D Animators
162(1)
2D Animators
162(1)
Rendering
163(1)
Operations
163(1)
Summary
163(2)
The Wardrobe Department
165(7)
Costume Designer
165(1)
Pre-Production
166(1)
Production
166(1)
Wrap
166(1)
Wardrobe Supervisor
166(3)
Pre-Production
167(1)
Production
167(1)
Wrap
167(2)
Men's Costumer/Women's Costumer
169(1)
Seamstress
169(1)
Wardrobe Production Assistant
169(1)
Assistant to the Costume Designer
169(1)
Operations
169(1)
Washing and Returning
170(1)
Dressing the Masses
171(1)
Summary
171(1)
Makeup and Hair
172(7)
Key Makeup
172(1)
Pre-Production
172(1)
Production
173(1)
Wrap
173(1)
Assistant Makeup
173(2)
Additional/Extra Makeup
175(1)
Body Makeup
175(1)
Special Effects Makeup
175(1)
Key Hair
176(1)
Pre-Production
176(1)
Production
176(1)
Wrap
176(1)
Assistant Hair/Additional Hair/Extra Hair
177(1)
Operations
177(1)
Qualities of a Good Makeup and Hair Team
177(1)
Summary
178(1)
Locations
179(13)
Location Manager
179(2)
Pre-Production
180(1)
Production
180(1)
Wrap
180(1)
Assistant Location Manager
181(1)
Location Production Assistant
182(1)
Location Scout---The Person
182(1)
Location Scout---The Event
183(1)
Location Considerations
183(1)
The Technical Scout
184(2)
Location Determinations on a Tech Scout
185(1)
Maps
186(1)
Security, Firemen, and Police
186(1)
Heating and Air Conditioning
187(1)
Shooting on Location Versus in Studio Facilities
187(1)
Advantages of Shooting on Location
187(1)
Disadvantages of Shooting on Location
187(1)
Advantages of Shooting in a Studio
187(1)
Disadvantages of Shooting in a Studio
188(1)
Location Paperwork
188(3)
Location Agreement
188(1)
Certificate of Insurance
188(1)
Permits
188(3)
Summary
191(1)
The Transportation Department
192(7)
Transportation Coordinator
192(3)
Pre-Production
192(1)
Production
193(1)
Wrap
194(1)
Transportation Captain
195(1)
Dispatcher
195(1)
Drivers and Teamsters
195(1)
Qualities of a Good Transportation Team
196(1)
Operations
196(1)
Picture Vehicles
197(1)
Production Vehicles
197(1)
Summary
198(1)
Second Unit
199(4)
Director
199(1)
Unit Production Manager or Production Office Coordinator
200(1)
First Assistant Director
200(1)
Locations
200(1)
Camera
200(1)
Sound
201(1)
Other Units
201(1)
Operations
201(1)
Equipment
201(1)
Paperwork
201(1)
Summary
202(1)
PART II POST-PRODUCTION
203(32)
Editing Picture and Sound
205(19)
Post-Production Supervisor
205(2)
Editor
207(4)
First Assistant Editor
211(1)
Second Assistant Editor
211(1)
Apprentice Editor
212(1)
Sound Designer
212(1)
Sound Editor
212(1)
Dialogue Editor
213(2)
Sound Effects Editon
215(1)
Music Editor
215(1)
ADR Editor
216(1)
Re-Recording Mixers
217(1)
Looping/ADR
217(1)
What to Do before the Session
218(1)
What to Do during the Session
218(1)
Different Kinds of Mixes
218(1)
The Post-Production Process
219(1)
Shooting Film for Release on Film or Video
219(1)
Shooting Video for Release on Video
220(1)
Main Titles and End Credits
220(3)
Summary
223(1)
Post-Production Film and Lab
224(5)
Working with the Lab
224(1)
Negative Cutting
225(1)
The Sound Mix
226(1)
Answer Prints
226(1)
Release Prints
226(1)
The Film Trailer
227(1)
Delivery Versions
227(1)
VHS
227(1)
DVD
227(1)
Summary
228(1)
Music
229(6)
Licensing Rights
229(1)
Music in the Public Domain
230(1)
Music Supervisor
230(1)
Composer
231(1)
Music Package Fee
231(1)
Conductor
231(1)
Arranger/Orchestrator
231(1)
Copyists
232(1)
Musicians
232(1)
The Scoring Session
232(1)
Sound Track Album/CD
232(1)
Summary
233(2)
PART III THE REST OF THE STORY
235(32)
Contractuals
237(13)
Insurance
237(2)
Errors and Omissions
237(1)
Production Package
238(1)
Cast
238(1)
Negative
238(1)
Third Party
238(1)
Faulty Stock
238(1)
Auto
238(1)
Money and Securities
239(1)
Extra Expense
239(1)
Worker's Compensation
239(1)
Completion Bond
239(2)
The Legal Department
241(1)
Why You Should Get a Lawyer
241(1)
Getting the Right Lawyer
241(1)
Clearances
241(1)
Releases
242(1)
Contracts for Cast, Crew, and Services
243(3)
Publicity
246(3)
The Unit Publicist
246(2)
The Still Photographer
248(1)
Press Day
249(1)
Summary
249(1)
Miscellaneous
250(17)
Craft Services
250(1)
The Craft Service Person
250(2)
Pre-Production
251(1)
Production
251(1)
Choices for Good Craft Services
251(1)
Catering
252(1)
Hiring Catering Companies
252(1)
The Last Supper
252(1)
Set First Aid
253(3)
Emergency Procedures
253(3)
Set Massage Therapist
256(1)
Production Etiquette
256(1)
Unions, Guilds, and Associations
256(9)
American Society of Composers, Authors, and Publishers (ASCAP)
257(1)
International Alliance of Theatrical Stage Employees (IATSE)
257(1)
International Brotherhood of Electrical Workers (IBEW)
258(1)
National Association of Broadcast Employees and Technicians (NABET)
258(1)
Casting Society of America (CSA)
258(1)
Actor's Equity Association (AEA)
259(1)
American Federation of Television and Radio Artists (AFTRA)
259(1)
International Documentary Association (IDA)
259(1)
Director's Guild of America (DGA)
260(1)
Writer's Guild of America (WGA)
260(1)
Screen Actor's Guild (SAG)
261(1)
Academy of Motion Picture Arts and Sciences (AMPAS)
261(1)
Academy of Television Arts and Sciences (ATAS)
262(1)
Producer's Guild of America (PGA)
262(1)
American Association of Producers (AAP)
262(1)
American Federation of Musicians (AFM)
263(1)
The Film Foundation
263(1)
National Association of Broadcasters (NAB)
263(1)
American Film Marketing Association (AFMA)
264(1)
American Film Market (AFM)
265(1)
Motion Picture Association of America (MPAA)
265(1)
Motion Picture Association (MPA)
265(1)
Summary
265(2)
Appendix: Guide to the CD-ROM 267(6)
Glossary 273(14)
Index 287


Please wait while the item is added to your cart...