Complete Guide to Making a Movie : Low Budget and Beyond

by Wales, Lorene M.

• ISBN13: 9780205507221
• ISBN10: 0205507220
• Edition: CD
• Format: Paperback
• Copyright: 2006-11-01
• Publisher: LONGMAN

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

Preface	p. XXV
Prep and Production	p. 1
The Budget	p. 3
Budgeting Software	p. 4
Budget Structure	p. 5
Above-the-Line	p. 5
Below-the-Line (Production)	p. 5
Post-Production	p. 5
Total Other	p. 6
Starting to Write a Budget	p. 7
Budgeting with Software Packages	p. 7
Spreadsheet Budgeting	p. 7
Padding the Budget	p. 13
The Contingency	p. 14
Fringe Benefits	p. 14
Taxes	p. 14
Payroll Fees	p. 15
Employee Benefits	p. 15
Union Versus Non-Union	p. 15
Becoming Signatory	p. 16
Local Versus Distant	p. 16
Budget Disbursement and Tracking	p. 17
Disbursing Funds	p. 17
Disbursement Forms	p. 19
Managing the Budget	p. 19
Good Budgeting Versus Bad Budgeting	p. 21
Budget Line Items	p. 21
Script Breakdown and Scheduling	p. 25
Scheduling a Film: A Step-by-Step Overview	p. 26
The Script Breakdown	p. 26
Electronically-Scheduling Software	p. 26
By Hand	p. 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 Categories	p. 30
Animal Handler	p. 30
Greenery	p. 30
Security	p. 31
Additional Labor	p. 31
Optical Effects/CGI	p. 31
Miscellaneous	p. 31
Notes	p. 31
A Note on Continuity	p. 32
Breaking the Script into "Eighths"	p. 32
The Breakdown Sheet	p. 35
The Strip or Production Board	p. 37
Creating a Schedule	p. 37
Scheduling Parameters	p. 39
Geography	p. 39
Set	p. 39
Cast Members	p. 39
Day/Night	p. 39
EXT/INT	p. 40
Sequence	p. 40
Children	p. 40
Time of Year/Climate	p. 41
Special Effects and Stunts	p. 41
Second Camera/Second Unit	p. 41
Special Equipment	p. 41
Putting the Schedule Together	p. 42
Schedules to Print	p. 42
Shooting Schedule	p. 42
Production Schedule	p. 42
One-Liner	p. 42
Day-Out-of-Days	p. 44
Updating Your Schedule	p. 44
Revision Colors	p. 45
The Production Team and Staff	p. 48
Executive Producer	p. 48
Pre-Production	p. 50
Production	p. 50
Post-Production	p. 50
Line Producer	p. 50
Pre-Production	p. 51
Production	p. 51
Post-Production and Wrap	p. 52
What Makes a Good Producer	p. 52
Dealing with First-Time Directors	p. 53
Associate Producer	p. 53
Assistant to the Producer	p. 54
Qualities of a Good Assistant	p. 54
Unit Production Manager	p. 55
Pre-Production	p. 55
Production	p. 55
Post-Production and Wrap	p. 56
Qualities of a Good UPM	p. 56
Production Office Coordinator	p. 56
Pre-Production	p. 56
Production	p. 57
Wrap	p. 57
Qualities of a Good POC	p. 57
Local Production Coordinator	p. 57
Assistant Production Office Coordinator	p. 58
Pre-Production	p. 58
Production	p. 58
Wrap	p. 59
Qualities of a Good APOC	p. 59
Travel/Movement	p. 59
Office Production Assistants	p. 61
Receptionist	p. 61
Qualities of Good PAs and Production Receptionists	p. 61
Head Accountant	p. 62
First Assistant Accountant, Second Assistant Accountant, and Accounting Apprentice	p. 62
Qualities of a Good Accounting Staff	p. 62
Technical Advisor	p. 63
Script Supervisor	p. 63
Pre-Production	p. 64
Production	p. 64
Wrap	p. 69
Qualities of a Good Script Supervisor	p. 69
Safety Officer/Manage	p. 69
Qualities of a Good Safety Manager	p. 69
Product Placement	p. 70
The Production Office	p. 71
Description of the Production Office	p. 71
Blocks of Rooms	p. 72
Ample Office Space	p. 72
Proximity to Restaurants and Shops	p. 72
Proximity to Airport	p. 72
Room Service	p. 72
Nicer Rooms for Stars	p. 72
Refrigerators	p. 73
Parking	p. 73
Proximity to Locations	p. 73
Laundry Service	p. 73
Setting Up the Office	p. 73
Assigning Offices	p. 74
Making the Office Operational	p. 74
Running the Production Office	p. 76
The Meet-and-Greet	p. 76
The Wrap Party	p. 78
Wrapping Out the Production Office	p. 78
Production Lists	p. 78
The Director's Team	p. 85
Director	p. 85
Pre-Production	p. 85
Production	p. 86
Post-Production	p. 86
First Assistant Director	p. 86
Pre-Production	p. 87
Production	p. 87
Qualities of a Good 1st AD	p. 88
The First Assistant Director-Director Relationship	p. 88
What the 1st AD Wants from the Director	p. 88
Production Meetings	p. 91
The Concept Meeting	p. 91
The Big Production Meeting	p. 91
Second Assistant Director	p. 91
Pre-Production	p. 92
Production	p. 92
A Note on Directing Extras	p. 93
Qualities of a Good 2nd AD	p. 93
Walkie-Talkie Etiquette	p. 93
Second Second Assistant Director and/or DGA Trainee	p. 94
Pre-Production	p. 94
Production	p. 94
Qualities of a Good 2nd 2nd or DGA Trainee	p. 94
Set Production Assistants	p. 95
Pre-Production	p. 95
Production	p. 95
Qualities of a Good Set PA	p. 95
Director's Assistant	p. 96
Choreographer	p. 96
Dialogue Coach/Dialect Coach	p. 96
Storyboard Artist	p. 97
Set Operations	p. 97
Importance of Calling Rolling and Cut	p. 98
At the End of the Day	p. 98
Press Day	p. 99
Closed Set	p. 99
Set Protocol	p. 99
Production Files	p. 100
AD Paperwork	p. 101
The Call Sheet	p. 101
The Production Report	p. 102
Casting, Actors, Extras, and Stunt People	p. 105
Casting Department	p. 105
Casting Director	p. 105
Pre-Production	p. 106
Local Casting Director	p. 108
Extras Casting	p. 109
Casting Assistants	p. 111
How to Run a Casting Session	p. 111
Screen Tests	p. 113
Rehearsals and Training	p. 113
Fittings	p. 115
Working With Minors	p. 115
Tutors	p. 115
Working with Parents	p. 116
Working With Animals	p. 117
The Taft-Hartley	p. 117
Categories of Actors	p. 118
Leads	p. 118
Supporting Roles	p. 118
Extras	p. 118
Silent Bits and Special Ability	p. 118
Stand-Ins	p. 118
Day Players Versus Weekly Players	p. 119
Stunts	p. 119
Stunt Coordinator	p. 119
Pre-Production	p. 119
Production	p. 120
Wrap	p. 120
Stuntperson	p. 120
How a Stunt Could Work: A Car Roll	p. 120
The Art Department	p. 122
Production Designer	p. 122
Pre-Production	p. 122
Production	p. 123
Wrap	p. 124
Art Director	p. 124
Pre-Production	p. 124
Production	p. 124
Wrap	p. 124
Set Decorator	p. 124
Pre-Production	p. 124
Production	p. 125
Wrap	p. 125
Lead Man and Swing Gang	p. 125
Art Department Coordinator	p. 125
Set Designer	p. 125
Set Dresser	p. 125
Props	p. 126
Pre-Production	p. 126
Production	p. 126
Wrap	p. 126
Illustrator	p. 126
Draftsperson	p. 127
Assistant Props	p. 127
Art Department Production Assistants	p. 127
Assistant to Production Designer and Art Director	p. 127
Construction Coordinator	p. 127
Construction Foreman	p. 128
Construction Laborers	p. 128
Standby Painter	p. 128
Standby Greensperson	p. 128
Operations	p. 128
The Camera Department	p. 130
Director of Photography	p. 130
Pre-Production	p. 130
Production	p. 131
Wrap	p. 131
Camera Operator	p. 132
Production	p. 132
First Assistant Cameraperson	p. 132
Second Assistant Cameraperson	p. 133
Clapper and Loader	p. 133
Camera Production Assistant	p. 133
Video Assist	p. 135
Steadicam Operator	p. 136
Special Operators	p. 136
The Camera Package	p. 137
Operations	p. 137
Stock	p. 138
Processing and Printing	p. 138
Projection of Dailies	p. 140
Behind-the-Scenes for DVD	p. 140
Tests	p. 140
Grip and Electric	p. 142
Gaffer	p. 142
Pre-Production	p. 142
Production	p. 143
Wrap	p. 143
Best Boy Electric	p. 143
Electricians/Electrics	p. 143
Generator Operator	p. 144
Rigging Crew	p. 144
Key Grip	p. 144
Pre-Production	p. 145
Production	p. 145
Wrap	p. 145
Best Boy Grip	p. 145
Company Grips	p. 145
Dolly Grip	p. 145
Crane Operator	p. 146
Operations for Grip and Electric	p. 146
The Grip Package	p. 147
The Lighting Package	p. 147
Laying Dolly Track	p. 148
Truck Wrap	p. 148
The Sound Department	p. 150
Sound Mixer	p. 150
Pre-Production	p. 151
Production	p. 151
Boom Operator	p. 151
Cable Puller/Person	p. 153
Sound Production Assistant	p. 153
The Sound Package	p. 153
Operations	p. 154
Playback	p. 154
Special Effects and Visual Effects	p. 156
Special Effects	p. 156
Creature Design	p. 156
Creature Manufacturer	p. 157
Modelers	p. 157
Miniatures	p. 158
Remote Vehicles	p. 158
Miniature Pyrotechnics	p. 158
Matte Painting	p. 158
Traveling Matte	p. 158
Full-Scale Physical Effects	p. 158
Weather Effects	p. 159
Special Effects Coordinator	p. 160
Operations on Set	p. 160
Visual Effects	p. 161
Visual Effects Producer	p. 161
Computer Graphics Supervisor	p. 162
Compositing Supervisor	p. 162
Compositing Lead	p. 162
Compositors	p. 162
Animation Supervisor/Director	p. 162
Animators	p. 163
Digital Cinematographers/Shaders	p. 163
Digital Modelers	p. 163
3D Animators	p. 163
2D Animators	p. 163
Rendering	p. 163
Operations	p. 164
The Wardrobe Department	p. 165
Costume Designer	p. 165
Pre-Production	p. 166
Production	p. 166
Wrap	p. 166
Wardrobe Supervisor	p. 166
Pre-Production	p. 167
Production	p. 167
Wrap	p. 167
Men's Costumer/Women's Costumer	p. 169
Seamstress	p. 169
Wardrobe Production Assistant	p. 169
Assistant to the Costume Designer	p. 169
Operations	p. 169
Washing and Returning	p. 170
Dressing the Masses	p. 171
Makeup and Hair	p. 172
Key Makeup	p. 172
Pre-Production	p. 172
Production	p. 173
Wrap	p. 173
Assistant Makeup	p. 173
Additional/Extra Makeup	p. 175
Body Makeup	p. 175
Special Effects Makeup	p. 175
Key Hair	p. 176
Pre-Production	p. 176
Production	p. 176
Wrap	p. 176
Assistant Hair/Additional Hair/Extra Hair	p. 177
Operations	p. 177
Qualities of a Good Makeup and Hair Team	p. 177
Locations	p. 179
Location Manager	p. 179
Pre-Production	p. 180
Production	p. 180
Wrap	p. 180
Assistant Location Manager	p. 181
Location Production Assistant	p. 182
Location Scout-The Person	p. 182
Location Scout-The Event	p. 183
Location Considerations	p. 183
The Technical Scout	p. 184
Location Determinations on a Tech Scout	p. 185
Maps	p. 186
Security, Firefighters, and Police	p. 186
Heating and Air Conditioning	p. 187
Shooting on Location Versus in Studio Facilities	p. 187
Advantages of Shooting on Location	p. 187
Disadvantages of Shooting on Location	p. 187
Advantages of Shooting in a Studio	p. 187
Disadvantages of Shooting in a Studio	p. 188
Location Paperwork	p. 188
Location Agreement	p. 188
Certificate of Insurance	p. 188
Permits	p. 188
The Transportation Department	p. 192
Transportation Coordinator	p. 192
Pre-Production	p. 192
Production	p. 193
Wrap	p. 194
Transportation Captain	p. 195
Dispatcher	p. 195
Drivers and Teamsters	p. 195
Qualities of a Good Transportation Team	p. 196
Operations	p. 196
Picture Vehicles	p. 197
Production Vehicles	p. 197
Second Unit	p. 199
Director	p. 199
Unit Production Manager or Production Office Coordinator	p. 200
First Assistant Director	p. 200
Locations	p. 200
Camera	p. 200
Sound	p. 201
Other Units	p. 201
Operations	p. 201
Equipment	p. 201
Paperwork	p. 201
Post-Production	p. 203
Editing Picture and Sound	p. 205
Post-Production Supervisor	p. 205
Editor	p. 206
First Assistant Editor	p. 211
Second Assistant Editor	p. 211
Apprentice Editor	p. 212
Sound Designer	p. 212
Sound Editor	p. 212
Dialogue Editor	p. 213
Sound Effects Editor	p. 215
Music Editor	p. 215
ADR Editor	p. 216
Re-Recording Mixers	p. 217
Looping/ADR	p. 217
What to Do before the Session	p. 218
What to Do during the Session	p. 218
different Kinds of Mixes	p. 218
The Post-Production Process	p. 219
Shooting Film for Release on Film or Video	p. 219
Shooting Video for Release on Video	p. 220
Main Titles and End Credits	p. 220
Post-Production Film and Lab	p. 224
Working With the Lab	p. 224
Negative Cutting	p. 225
The Sound Mix	p. 226
Answer Prints	p. 226
Release Prints	p. 226
The Film Trailer	p. 227
Delivery Versions	p. 227
VHS	p. 227
DVD	p. 227
Music	p. 229
Licensing Rights	p. 229
Music in the Public Domain	p. 230
Music Supervisor	p. 230
Composer	p. 231
Music Package Fee	p. 231
Conductor	p. 231
Arranger/Orchestrator	p. 231
Copyists	p. 232
Musicians	p. 232
The Scoring Session	p. 232
Sound Track Album/CD	p. 232
The Rest of the Story	p. 235
Contractuals	p. 237
Insurance	p. 237
Errors and Omissions	p. 237
Production Package	p. 238
Cast	p. 238
Negative	p. 238
Third Party	p. 238
Faulty Stock	p. 238
Auto	p. 238
Money and Securities	p. 239
Extra Expense	p. 239
Worker's Compensation	p. 239
Completion Bond	p. 239
The Legal Department	p. 241
Why You Should Get a Lawyer	p. 241
Getting the Right Lawyer	p. 241
Clearances	p. 241
Releases	p. 242
Contracts for Cast, Crew, and Services	p. 243
Publicity	p. 246
The Unit Publicist	p. 246
The Still Photographer	p. 248
Press Day	p. 249
Unions, Guilds, and Associations	p. 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 Foundation	p. 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-ROM	p. 261
Glossary	p. 267
Index	p. 281
Table of Contents provided by Ingram. All Rights Reserved.