Producing And Directing the Short Film And Video

by Irving; Rea

• ISBN13: 9780240807355
• ISBN10: 0240807359
• Edition: 3rd
• Format: Paperback
• Copyright: 2006-03-03
• Publisher: Elsevier Science

Summary

Producing and Directing the Short Film and Video is the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations. * Unique approach which looks at the process from the director's and producer's point of view * Third edition includes information on new HD formats, postproduction, and a new animation example * A companion website contains useful forms, information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations

Table of Contents

Preface: Third Edition	xv
Efficio Cognosio (Learn by Doing)	xv
The Power of the Media	xvi
Acknowledgments	xvii
Introduction	xix
Craft versus Art	xx
Four Short Films	xx
Film and Video	xxi
Animation	xxi
Timeline	xxii
Chapter Breakdowns	xxiv
Finance	1	(10)
Producer Raising the Capital	1	(7)
Basic Fund-Raising Problems	1	(1)
How Much Money Will You Need?	2	(1)
Funding Options	2	(1)
Private Investors	2	(1)
Corporate Sponsorship	2	(1)
Public Foundation Grants	3	(1)
Private Foundation Grants	3	(1)
Bank Loans	3	(1)
Personal Savings	3	(1)
In-Kind Services and Donations	3	(1)
The Prospectus	3	(4)
Presentation Is Everything	7	(1)
Spending the Money Responsibly	8	(1)
Director Pitching the Project	8	(2)
General Fund-Raising Suggestions	8	(1)
Be Positive and Be Patient	8	(1)
Act Professionally	8	(1)
Be Informed	9	(1)
Sources for Students	9	(1)
Fund-Raising Strategies	9	(1)
Key Points	10	(1)
Script	11	(20)
Producer Overseeing Rewrites	11	(10)
Script Development	11	(1)
What Is a Script?	12	(1)
What Does a Script Look Like?	12	(1)
Where Do Scripts Come From?	13	(1)
Adaptation	14	(1)
Why Adapt?	15	(1)
Rights	15	(1)
What Is the Story About?	16	(1)
Find Your Plots and Characters	16	(1)
Make the Internal External	17	(1)
What Do You Do Now?	17	(1)
Some General Guidelines	18	(1)
True Stories and Events	18	(1)
How Are Scripts Developed?	18	(1)
Workshops	18	(1)
Working with a Writer	19	(1)
Legalities	19	(1)
Rights and Adaptations (Preexisting Material)	19	(1)
Noncommercial/Festival Rights	20	(1)
Original Material	20	(1)
Copyright	20	(1)
Expanding the Creative Team: The Director	20	(1)
How Do Scripts Affect Budgets?	20	(1)
Director Supervising or Performing Rewrites	21	(8)
Director as Storyteller	21	(1)
Working with the Writer	21	(1)
Basic Guidelines for the Short Form	22	(1)
Length	22	(1)
The Central Theme	22	(1)
Conflict	22	(1)
The Dramatic Arc	23	(1)
One Major Character	24	(1)
Follow Through	24	(1)
One Primary Event	25	(1)
Dramatic Expectations	25	(1)
Minimum Back Story	26	(1)
Internal Motives, External Actions	26	(1)
No Talking Heads	26	(1)
Rewriting	26	(1)
Readings	26	(1)
Images before Words	27	(1)
Story Questions	27	(1)
Story Analysis	27	(1)
The Shooting Script	27	(1)
Animation	28	(1)
Documentaries	28	(1)
Key Points	29	(2)
part I Preproduction	31	(108)
Breakdowns	35	(18)
Producer Breaking Down the Script	35	(8)
Production Book	35	(1)
Proper Script Format	36	(1)
Breaking Down the Script	36	(1)
Step 1: Breakdown	36	(6)
Step 2: Schedule	42	(1)
Step 3: Budget	43	(1)
Director Storyboards and Floor Plans	43	(9)
Developing a Shooting Plan	43	(2)
Know the Script	45	(1)
Know the Theme	46	(1)
Know What Each Character Wants in the Story	46	(1)
Develop a History of the Main Characters	46	(1)
Break Down Each Scene into Dramatic Beats	46	(2)
Determine a Visual Style for the Story	48	(1)
Settle on Pacing and Tone	48	(1)
Create Floor Plans and Storyboards	48	(3)
Make a Shot List	51	(1)
Workshop Ideas on Video	52	(1)
The Final Word	52	(1)
Key Points	52	(1)
Schedule	53	(14)
Producer Building a Stripboard	53	(11)
General Guidelines	53	(1)
Fixed Dates	53	(2)
Locations	55	(1)
Cast	55	(1)
Exteriors	56	(1)
Night Shooting	56	(1)
Continuity of Sequences	56	(1)
Child Actors	57	(1)
Time of Year	57	(1)
Weather	57	(1)
Special Effects, Stunts, and Animals	57	(1)
Crowd Sequences	57	(1)
Special Equipment	58	(1)
Turnaround, Setup Time, and Swing Crews	58	(1)
Animation	58	(1)
Other Considerations	58	(1)
Beginning the Schedule	58	(1)
Creating the Schedule	59	(1)
Making the Day	59	(2)
Keep the Day under 12 Hours!	61	(1)
Shooting during Preproduction	61	(1)
Animation Lip-Sync	61	(1)
Locking the Schedule	61	(1)
Call Sheet	61	(2)
Scheduling Documentaries	63	(1)
Student Scheduling Tips	63	(1)
Computers and Production	64	(1)
Director Determining Coverage	64	(2)
Coverage = Time = Schedule	64	(1)
The First Day	65	(1)
Contingency Plan for Overages	65	(1)
Things Change	66	(1)
Key Points	66	(1)
Budget	67	(16)
Producer Creating a Budget	67	(14)
The Budget Form	68	(1)
Above-the-Line Costs	68	(2)
Below-the-Line Costs	70	(7)
Postproduction	77	(2)
Beginning the Budget	79	(1)
The Budget Process	80	(1)
Information Is Power	80	(1)
Production Value	80	(1)
Student Budgets	81	(1)
Director Shooting for the Moon	81	(1)
Learning by Doing	82	(1)
Key Points	82	(1)
Crewing	83	(16)
Producer Hiring the Crew	83	(12)
Who Hires the Crew?	83	(1)
When Do You Need a Crew?	83	(1)
How Big a Crew Do You Need?	84	(1)
The 3--30 Rule	84	(1)
Selecting the Crew	85	(1)
Attracting the Right People	85	(1)
Evaluating Credits	85	(1)
Negotiating the Deal	86	(1)
Key Crew Members	86	(1)
Production Manager	86	(1)
Assistant Director	87	(1)
Director of Photography	88	(3)
Production Sound Mixer	91	(1)
Art Director	92	(1)
Hiring an Animator	93	(1)
Production Assistant	93	(1)
Interns	94	(1)
Specialty Crew	94	(1)
Video Shoots	94	(1)
Documentary Crews	94	(1)
Developing the Right Chemistry	95	(1)
Director Hiring the Crew	95	(1)
Director's Disease	96	(1)
Key Points	96	(3)
Location	99	(10)
Producer Securing Locations	99	(5)
Where to Look for Locations	99	(2)
Scouting the Locations	101	(1)
Lighting	101	(1)
Power	101	(1)
Sound	101	(1)
Green Room and Other Special Areas	101	(1)
Safety and Security	102	(1)
Securing the Location	102	(1)
Location Contract	102	(1)
Location Fee	102	(1)
Permits	102	(1)
Insurance	103	(1)
Communication	103	(1)
Transportation	103	(1)
Catering	103	(1)
Company Moves	103	(1)
Parking	104	(1)
Proximity	104	(1)
Backups	104	(1)
Director Scouting Locations	104	(4)
Aesthetic Concerns versus Practical Limitations	104	(1)
Be Flexible	105	(1)
The Power of Illusion	105	(1)
What Does the Script Require?	105	(1)
Identifying the Location	105	(1)
Interior and Exterior	106	(1)
Day or Night	106	(1)
Stage or Practical Location	106	(1)
Near or Distant	107	(1)
Walk-Throughs	108	(1)
Key Points	108	(1)
Art Direction	109	(10)
Producer Assembling the Team	109	(7)
The Art Department	109	(1)
Images Can Tell a Story	110	(1)
Responsibilities of the Art Department	110	(1)
Sets and Locations	110	(1)
Set Dressing	111	(1)
Duplicate Set Items	111	(1)
Props	111	(1)
Wardrobe	112	(2)
Makeup	114	(1)
Hair	114	(1)
Animation	115	(1)
The Producer's Role	115	(1)
Director Creating a Look	116	(2)
How to Define the ``Look''	116	(1)
Architect of Illusion	117	(1)
Black and White versus Color	117	(1)
Breakdowns---Listen to the Script	117	(1)
Defining the Space with Storyboards	118	(1)
Camera Tests	118	(1)
Key Points	118	(1)
Casting	119	(10)
Producer Auditions	119	(4)
The Casting Director	120	(1)
The Basic Casting Steps	120	(1)
Advertise Specific Roles	120	(1)
Scout Local Theater Companies	121	(1)
Scout Acting Schools	121	(1)
Organize Submitted Head Shots and Resumes	121	(1)
Arrange Casting Calls	121	(1)
Arrange Callbacks	122	(1)
Negotiate with Selected Actors	122	(1)
Deal with Rejected Actors	122	(1)
Added Benefits of Casting	123	(1)
Director Auditions	123	(4)
Casting	123	(1)
Casting Children	124	(1)
Audition Guidelines	124	(3)
Key Points	127	(2)
Rehearsals	129	(10)
Director Working on Scenes	129	(6)
Before Rehearsals	129	(1)
Getting to Know the Actor	129	(1)
Developing Mutual Trust	130	(1)
Researching the Character	130	(1)
Rehearsals	130	(1)
Benefit of Rehearsal	130	(1)
Rehearsal Schedule	131	(1)
Read-Through	131	(1)
Develop the Theme	131	(1)
Keep Notes	131	(1)
Scene by Scene	131	(1)
Videotape the Rehearsals	132	(1)
Shaping the Scene	132	(2)
Communicating on the Set	134	(1)
Special Situations	134	(1)
Producer Preparing Call Sheets	135	(3)
Sample Preproduction Schedule	135	(1)
Preproduction Planning Suggestions	136	(1)
Production Meeting Suggestions	136	(1)
Week 1	136	(1)
Week 2	136	(1)
Week 3	137	(1)
Week 4	137	(1)
Week 5	137	(1)
Week 6	137	(1)
Week 7	138	(1)
Shoot Date	138	(1)
Key Points	138	(1)
part II Production	139	(96)
Set Procedures	143	(12)
Director Control	143	(7)
Running the Set	143	(1)
A Typical Day	144	(1)
Camera Moves	145	(1)
Video Tap	145	(1)
Slates	146	(1)
Slating Procedure	146	(1)
Slate Lights	147	(1)
Smart Slates	147	(1)
In-Camera Slates	147	(1)
Informal Slates	148	(1)
Tail Slates	148	(1)
Video Slates	148	(1)
Action! Cut!	148	(1)
Calling the Shot	148	(1)
Script Supervision	148	(2)
Producer Organize	150	(3)
Guidelines	151	(1)
Keep Morale Up	151	(1)
Support the Director and the Creative Team	151	(1)
Watch the Budget	151	(1)
Act as Coordinator	151	(1)
Keep the Production Moving Ahead	151	(1)
Be a Troubleshooter	151	(1)
Safety on the Set	152	(1)
Proper Wrap-Out	152	(1)
Dailies	153	(1)
Key Points	153	(2)
Camera	155	(44)
Director Collaborate	155	(41)
Keeping Up with Technology	155	(1)
Style	155	(1)
Collaboration with the Camera Department	156	(1)
Stock	156	(1)
Consult with the Director of Photography	157	(1)
Do Your Homework	157	(1)
Shot List	158	(1)
Introduce the Camera during Preproduction	158	(1)
The Camera as Storyteller	158	(1)
Composition of the Shot	159	(3)
Focus	162	(1)
Use of Color and Black and White	163	(1)
Type of Shot	163	(3)
Size of Shot	166	(1)
Lens	166	(1)
Shot Perspectives	166	(1)
Camera Movement	167	(5)
Coverage	172	(1)
Second Unit/B-Roll	172	(1)
Continuity	172	(3)
Specialty Shot	175	(1)
Lighting	175	(3)
Editing	178	(1)
Equipment	178	(1)
Film Camera	179	(1)
Film Formats	180	(1)
Aspect Ratio	181	(1)
Camera Terms	181	(2)
Tests	183	(1)
Video	183	(1)
Video Camera	183	(1)
Camcorder	183	(1)
Monitor	183	(1)
Interlaced Scanning	184	(1)
Component versus Composite Video	185	(1)
Digital Impact	186	(2)
Video Formats	188	(1)
Analog Formats	188	(1)
Digital Videotape Formats	189	(1)
DV, DVCAM, DVCPRO	190	(1)
HDTV	190	(4)
Tape Stock	194	(1)
Other Equipment	195	(1)
Grip Package	195	(1)
Lighting Package	195	(1)
Tricks	196	(1)
Poor Man's Process	196	(1)
Simple Mattes	196	(1)
Night for Day	196	(1)
Integrating Animation	196	(1)
Producer Support	196	(2)
Responsibilities of the Producer	196	(1)
Laboratory	196	(1)
Equipment	197	(1)
Rental House	197	(1)
Technical Considerations	197	(1)
Power	197	(1)
Lights	197	(1)
Camera Noise	198	(1)
Fans	198	(1)
Key Points	198	(1)
Sound	199	(16)
Director Recording Clean Tracks	199	(12)
Production Sound	199	(1)
Sound Preparation	200	(1)
Location Scout	201	(1)
Responsibilities of the Sound Team	201	(1)
Dialogue	202	(1)
Perspective	202	(1)
Sound Effects	202	(1)
Room Tone	202	(1)
Additional Sounds	203	(1)
Sound Reports	203	(1)
Consistency in Sound Recording	204	(1)
Playback/Music Video	204	(1)
Set Procedure	205	(1)
Basic Attitude on the Set	205	(1)
Communication with the Boom Operator	206	(1)
Approaches to Recording Sound	206	(1)
Boom	206	(1)
Plants/Stash	207	(1)
Lavaliere	207	(1)
Radio Microphones	207	(1)
Variables for Placing Microphones	207	(1)
Recording Concerns	208	(1)
Pickups	209	(1)
Keeping It Clean	209	(1)
Difficult Situations	209	(1)
Crowd Scenes	209	(1)
Video Sound	209	(2)
Documentary	211	(1)
Producer Controlling the Environment	211	(1)
Equipment Needs for the Shot	211	(1)
Film	211	(1)
Video	211	(1)
Microphones	212	(1)
Care of Equipment	212	(1)
DAT	212	(1)
Nagra Analog	212	(1)
Key Points	212	(3)
Art	215	(8)
Director Guide	215	(4)
Set Procedures	215	(1)
Set Dressing	216	(1)
Continuity	216	(1)
Duplicates	217	(1)
Props	217	(1)
Continuity	217	(1)
Duplicates	217	(1)
Personal Effects	218	(1)
Improvisation	218	(1)
Wardrobe	218	(1)
Special Rigs	219	(1)
Makeup	219	(1)
Continuity	219	(1)
Positive Reinforcement	219	(1)
Special Effects	219	(1)
Hair	219	(1)
Continuity	219	(1)
Additional Crew	219	(1)
Producer Construction	219	(2)
Sets	220	(1)
Key Points	221	(2)
Cast	223	(12)
Director Direct	223	(9)
The Process	223	(1)
Call Time	223	(1)
Makeup and Hair	224	(1)
Stand-ins	224	(1)
On Call	224	(1)
Final Staging	224	(1)
Technical Requirements	225	(1)
The Director as Audience	226	(1)
Directing Actors	227	(1)
The Director's Tools	227	(1)
Types of Characters	227	(2)
Continuity	229	(1)
Special Situations	230	(1)
Interviewing for Documentaries	231	(1)
Interview Questions	232	(1)
Producer Accommodate	232	(1)
Socializing	232	(1)
Contracts and Deal Memos	232	(1)
Wrap Out	233	(1)
Firing Talent	233	(1)
Key Points	233	(2)
part III Postproduction	235	(86)
Pix Postproduction	239	(32)
Director Edit	239	(28)
The Director as Editor	239	(1)
The Editor	240	(1)
The Editing Process	240	(1)
The Creative Steps to Editing	240	(1)
What Is Editing?	240	(1)
Screening the Dailies (Working with an Editor)	240	(1)
Finding the Story	241	(1)
Analyzing the Rough Cut	242	(1)
Restructuring the Picture	242	(1)
Screening the Second Cut	243	(1)
Refining the Story	243	(1)
Editing Techniques	243	(2)
Cut with Sound in Mind	245	(1)
Evolution of the Edit	246	(1)
Shifts in Tone	247	(1)
Adding Reshoots and Stock Footage	247	(1)
Temporary Music	248	(1)
Screen for Story	248	(1)
Screen for Pacing	249	(1)
The Impact of Nonlinear Editing Systems	249	(1)
Locking the Picture	249	(1)
Technical Considerations When Editing Film on Video	249	(1)
Digital Basics	250	(1)
Key Terms	250	(1)
Analog versus Digital	251	(1)
Sampling Rate	252	(1)
Advantages of Digital	252	(1)
Broadcast Quality	253	(1)
Resolution	253	(1)
Digital Compression	253	(2)
What Is Nonlinear?	255	(1)
Film-Style Editing	255	(1)
Random Access	255	(1)
Digital Nonlinear Editing	255	(1)
Basic Components of a Nonlinear Editing System	256	(1)
Capturing and Organizing Clips	257	(1)
Digitizing	257	(1)
Editing Sequences	258	(1)
Editing Interface and Time Line	258	(2)
Basic Sound Editing	260	(1)
Special Digital Video Effects	260	(1)
Types of Effects	260	(2)
Ending a Session	262	(1)
Animation	262	(3)
The HDV Revolution (In Post)	265	(1)
Film to Video	265	(1)
Telecine	265	(1)
Video Dailies	266	(1)
Producer Advise	267	(3)
What Do You Want from a System?	268	(1)
What Is Available?	268	(1)
Editing Room	268	(1)
Postproduction Schedule	268	(1)
Finding an Editor	268	(1)
Evaluating Prospective Editors	269	(1)
Stepping Back and Looking Ahead	269	(1)
Key Points	270	(1)
Sound Postproduction	271	(22)
Director Building Tracks	271	(18)
Sound in the Digital Age	272	(1)
The Digital Audio Workstation	272	(1)
Basic Steps	272	(1)
Projects Shot on Video	272	(1)
Projects Shot on Film	272	(1)
Respect for Sound	273	(1)
How We Perceive Sound versus Picture	273	(1)
Sound Equals Space	274	(1)
Sound Equals Production Value	274	(1)
The Design of Sound	274	(1)
Do You Need a Sound Designer?	275	(1)
Preparing for the Mix	276	(1)
Spotting	276	(1)
Dialogue Tracks	277	(1)
Cutting Dialogue	277	(1)
Automatic Dialogue Replacement (ADR)	278	(1)
Walla	279	(1)
Voice-overs and Narration	279	(1)
Sound Effects Tracks	280	(1)
Unique or Enhanced Sounds	281	(1)
Cue Sheets	281	(2)
Music Tracks	283	(1)
The Music Team	284	(2000)
The Original Score	2284
Preexisting Music	286	(1)
The Mix	286	(2)
Rhythm of the Mix	288	(1)
Preparing for a Mix: Nonlinear	288	(1)
Digital Mix	289	(1)
Different Formats	289	(1)
Producer Setting Up the Mix	289	(1)
The Moral	290	(1)
Key Points	290	(3)
Laboratory/Online	293	(12)
Director Time	293	(10)
Opticals	294	(2)
Animation and CGI	296	(1)
Rendering and Compositing	296	(1)
Cutting the Negative	296	(1)
Film Matchback	297	(1)
24/30 Frame Issues	298	(1)
Timing	299	(1)
Types of Prints	299	(1)
Mute Print	299	(1)
First Trial	300	(1)
Answer Print	300	(1)
Release Print	300	(1)
Video Copy	300	(1)
Traditional Linear Video Online	300	(1)
Nonlinear Online Edit	300	(1)
Video-to-Film Transfer	301	(1)
Systems	301	(2)
Digital Intermediate	303	(1)
Producer Making Prints	303	(1)
Looking Ahead	303	(1)
Key Points	304	(1)
Distribution	305	(16)
Producer Making a Deal	305	(10)
Start Early	306	(1)
The Markets	306	(1)
Theatrical Markets	306	(1)
Nontheatrical Markets	306	(3)
Exhibition	309	(1)
Television	310	(1)
Video	311	(1)
The Internet	311	(1)
Foreign Markets	312	(1)
Distribution Options	312	(1)
Self-Distribution	312	(1)
Distributor	313	(1)
Approaching a Distributor	313	(1)
General Distribution	313	(1)
Foreign Distribution	314	(1)
Contracts	314	(1)
Marketing Your Short Film or Video	314	(1)
Deliverables	314	(1)
The Press Kit	315	(1)
Director Publicity	315	(6)
Truman	316	(1)
Mirror Mirror	316	(1)
Crazy Glue	317	(1)
The Lunch Date	317	(1)
Cannes	317	(2)
The Academy Awards	319	(2)
Appendices
A. Genres	321	(4)
Experimental or Alternative	321	(1)
Corporate	321	(1)
Commercials	322	(1)
Music Videos	322	(3)
B. Screening List	325	(6)
Short Films and Videos	325	(6)
C. Case Study Scripts	331	(22)
The Lunch Date	331	(5)
Pitch	331	(1)
Synopsis	331	(5)
Truman	336	(8)
Pitch	336	(1)
Synopsis	336	(8)
Crazy Glue	344	(3)
Pitch	344	(1)
Synopsis	344	(3)
Mirror Mirror	347	(6)
Pitch	347	(1)
Synopsis	347	(6)
D. Insurance and Legal Matters	353	(4)
Insurance	353	(2)
Comprehensive Liability	353	(1)
Miscellaneous Equipment	353	(1)
Third-Party Property Damage Liability	353	(1)
Errors and Omissions	354	(1)
Cast Insurance	354	(1)
Negative Film and Videotape	354	(1)
Faulty Stock, Camera, and Processing	354	(1)
Props, Sets, and Wardrobe	354	(1)
Extra Expense	354	(1)
Workers' Compensation	354	(1)
Hired, Loaned, or Donated Auto Liability	354	(1)
Hired, Loaned, or Donated Auto Physical Damage	354	(1)
Guild/Union Travel Accident	355	(1)
Office Contents	355	(1)
Animal Mortality	355	(1)
Legal	355	(2)
Music Rights	355	(1)
Public Domain	355	(2)
E. Film Schools	357	(6)
Programs	357	(1)
References	358	(1)
United States and Canada	358	(2)
International	360	(3)
F. A Short History of the Short Film	363	(2)
Glossary	365	(20)
Bibliography/Software/Internet	385	(8)
Index	393