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Overview of Moviemaking | p. 2 |
Cast and Crew | p. 2 |
Producing | p. 2 |
Writing | p. 3 |
Directing | p. 5 |
Acting | p. 6 |
Production Design | p. 7 |
Picture Creation | p. 8 |
Sound | p. 9 |
Editing | p. 10 |
Special and Visual Effects | p. 11 |
Other | p. 11 |
The Production Process | p. 12 |
The Traditional Film Production Model | p. 12 |
The Changing Nature of the Production Process | p. 14 |
Notes | p. 15 |
Planning the Movie | p. 16 |
Finding and Financing the Right Script | p. 16 |
Breaking Down the Script | p. 17 |
Scheduling | p. 19 |
Shooting Schedules | p. 20 |
Stripboards | p. 22 |
Production Schedules | p. 22 |
Call Sheets | p. 23 |
Budgeting | p. 25 |
Budgeting Procedures | p. 25 |
Budgeting a Student Production | p. 29 |
Casting | p. 32 |
Hiring Behind-the-Scenes Personnel | p. 33 |
Finding Locations | p. 35 |
Designing and Constructing Sets | p. 38 |
Designing Costumes, Wardrobe, Makeup, and Hairstyling | p. 39 |
Obtaining Props | p. 40 |
Developing Effects | p. 40 |
Planning Sound | p. 41 |
Acquiring and Checking Equipment | p. 41 |
Obtaining Rights | p. 41 |
Arranging Travel and Food | p. 42 |
Buying Insurance | p. 44 |
Notes | p. 44 |
Cameras | p. 46 |
Formats | p. 46 |
Film Formats | p. 46 |
Analog Video Formats | p. 47 |
Digital Video Formats | p. 48 |
High-Definition Video Formats | p. 49 |
Aspect Ratio | p. 51 |
Stock | p. 52 |
Film Stock | p. 52 |
Videotape | p. 53 |
Camera Construction | p. 54 |
Film Cameras | p. 54 |
Video Cameras | p. 55 |
Time Code | p. 55 |
Viewers | p. 56 |
Basic Camera Features | p. 57 |
Power | p. 57 |
Recording Controls | p. 57 |
Color Rendition | p. 58 |
Gain | p. 58 |
Shutter Speed | p. 58 |
Other Features | p. 58 |
Lenses | p. 59 |
Focal Length | p. 59 |
Focus | p. 60 |
Aperture | p. 61 |
Depth of Field | p. 61 |
Camera Supports | p. 62 |
Handheld Cameras | p. 62 |
Tripods | p. 63 |
Dollies and Cranes | p. 64 |
Connectors | p. 64 |
Care of Equipment | p. 65 |
Notes | p. 65 |
Approaches to Image Capturing | p. 68 |
Shot Determination | p. 68 |
The Basic Shots | p. 68 |
Subjective Shots | p. 69 |
Lens Selection | p. 70 |
Focal Length Characteristics | p. 70 |
Depth of Field | p. 71 |
Camera Angle | p. 72 |
Composing Within the Static Frame | p. 73 |
Manipulating the Mise-en-Scene | p. 73 |
Balance | p. 75 |
Creating Depth | p. 75 |
On-Screen/Off-Screen Space | p. 76 |
The Edge of the Frame | p. 76 |
The Moving Frame | p. 78 |
Camera Movements | p. 78 |
Zooming | p. 78 |
Time | p. 79 |
Color and Tonality | p. 79 |
Black and White or Color | p. 79 |
Color Considerations | p. 80 |
Shooting to Edit | p. 80 |
Shot Selection | p. 80 |
Shot Duration | p. 81 |
The Long Shot, Medium Shot, Close-Up Pattern | p. 82 |
Shooting for Continuity | p. 82 |
Now That You Know the Rules... | p. 84 |
Notes | p. 84 |
Lights and Filters | p. 86 |
Measuring the Light | p. 86 |
Incident Meters | p. 86 |
Reflected Light Meters | p. 86 |
Spot Meters | p. 87 |
Getting Correct Exposure | p. 87 |
Problems with Automatic Metering Systems | p. 88 |
Footcandles, F-Stops, and EI | p. 88 |
Contrast Range | p. 89 |
Using a Monitor to Help Evaluate Exposure | p. 90 |
Using a Waveform Monitor to Evaluate Exposure | p. 90 |
The Color of Light | p. 91 |
The Electromagnetic Spectrum | p. 91 |
The Kelvin Scale | p. 92 |
Tungsten and Daylight-Balanced Light | p. 92 |
Small-Scale Color Corrections | p. 93 |
The Vectorscope | p. 93 |
Filters for Film and Video | p. 94 |
Types of Filters | p. 94 |
Mounting Filters | p. 95 |
Compensating for Filters | p. 95 |
Care of Filters | p. 96 |
Artificial Lighting | p. 96 |
Types of Lamps | p. 96 |
Basic Lighting Instruments | p. 98 |
Mounting Equipment | p. 101 |
Controlling the Light | p. 101 |
Electric Power Requirements | p. 104 |
Lighting Safety | p. 105 |
Notes | p. 106 |
Approaches to Lighting | p. 108 |
Lighting Styles | p. 108 |
Basic Three-Point Lighting | p. 108 |
Comparison of Lighting for Film, SDTV, and HDTV | p. 110 |
Preparing to Light | p. 111 |
Outdoor Lighting | p. 112 |
Contrast Reduction | p. 113 |
Maintaining Continuity in Changing Light | p. 113 |
Shooting at Night | p. 114 |
Adapting to Weather Conditions | p. 114 |
Indoor Lighting | p. 115 |
Shooting in Available Light and Low Light | p. 115 |
Bounce Lighting | p. 116 |
Mixed Lighting | p. 116 |
Lighting for Movement | p. 117 |
Variations in Lighting | p. 120 |
Notes | p. 122 |
Microphones and Recorders | p. 124 |
The Nature of Sound | p. 124 |
Pitch and Frequency | p. 124 |
Loudness and Amplitude | p. 125 |
Timbre | p. 126 |
Duration | p. 126 |
Velocity | p. 126 |
Microphones | p. 127 |
Directionality | p. 127 |
Construction | p. 129 |
Positioning | p. 130 |
Cables and Connectors | p. 132 |
Balanced and Unbalanced Cables | p. 132 |
Connector Types | p. 132 |
Recorders | p. 133 |
Double System and Single System Sound Recording | p. 134 |
Types of Recorders | p. 135 |
Recording Methods | p. 136 |
Features of Sound Recorders | p. 136 |
Audio Mixers | p. 137 |
Care of Audio Equipment | p. 138 |
Notes | p. 138 |
Approaches to Sound Recording | p. 140 |
Elements of Microphone Pickup | p. 140 |
Presence | p. 140 |
Perspective | p. 141 |
Balance | p. 141 |
Continuity | p. 142 |
Eliminating Unwanted Noises | p. 142 |
Miking Dialogue | p. 143 |
Selecting the Mic | p. 143 |
Setting Up the Mics | p. 144 |
Special Dialogue Situations | p. 144 |
Miking Automatic Dialogue Replacement | p. 145 |
Miking Voice-Overs | p. 146 |
Miking Sound Effects | p. 147 |
Miking Foley | p. 147 |
Miking Ambient Sounds | p. 148 |
Miking Music | p. 149 |
Recording Techniques | p. 150 |
Notes | p. 151 |
Directing | p. 152 |
The Roles of the Director | p. 152 |
Working with the Script | p. 153 |
Working with the Writer | p. 155 |
Working with a Crew | p. 157 |
Hiring Crew | p. 157 |
Handling Crew | p. 157 |
Auditioning Actors | p. 159 |
Preliminaries | p. 159 |
The Process | p. 160 |
Rehearsing | p. 160 |
Early Rehearsing | p. 160 |
Ways to Improve Rehearsals | p. 161 |
Shooting | p. 162 |
A Typical Pattern | p. 162 |
Dailies | p. 164 |
Other Considerations | p. 165 |
Editing | p. 167 |
Notes | p. 169 |
Editing | p. 170 |
Making Material Computer Ready | p. 170 |
Film | p. 170 |
Analog Video | p. 172 |
Digital Video | p. 173 |
Setting Up the Computer | p. 173 |
Logging | p. 174 |
Capturing | p. 175 |
Cutting Clips Together | p. 176 |
Windows | p. 176 |
The Assembly Process | p. 177 |
Fine Tuning | p. 179 |
Adding Graphics | p. 180 |
Adding Transitions and Other Effects | p. 180 |
Useful Tools | p. 182 |
Outputting the Project | p. 183 |
Linear Editing | p. 185 |
Cuts-Only Editing | p. 185 |
More Advanced Linear Editing | p. 186 |
Notes | p. 186 |
Approaches to Editing | p. 188 |
Conventional Hollywood Patterns | p. 188 |
Editing in the Service of the Story | p. 189 |
Maintaining Continuity | p. 190 |
Using the Master Shot Method | p. 192 |
Ensuring Consistent Screen Direction | p. 195 |
Finding the Cutting Point | p. 197 |
Controlling Rhythm | p. 198 |
Manipulating Time and Space | p. 198 |
Creating Transitions | p. 200 |
Alternatives to Conventional Editing | p. 201 |
Montage Editing | p. 201 |
Time and Space Alterations | p. 202 |
Less Is More | p. 203 |
Dominant Elements | p. 203 |
Shot Ordering | p. 203 |
Notes | p. 204 |
Enhanced Audio, Graphics, and Visual Effects | p. 206 |
Audio | p. 206 |
Spotting | p. 206 |
Gathering and Recording | p. 209 |
Sweetening | p. 214 |
Positioning | p. 214 |
Mixing | p. 216 |
Graphics | p. 218 |
Software Programs | p. 218 |
Optical Titles | p. 219 |
Visual Effects | p. 220 |
Optical Visual Effects | p. 220 |
Computerized Visual Effects | p. 221 |
The Process for Creating Computerized Visual Effects | p. 223 |
Notes | p. 224 |
Approaches to Enhanced Audio, Graphics, and Visual Effects | p. 226 |
Audio | p. 226 |
Supplying Information | p. 226 |
Enhancing Reality and Fantasy | p. 229 |
Establishing Time, Place, and Character | p. 230 |
Creating Mood and Emotion | p. 231 |
Giving a Sense of Rhythm | p. 233 |
Directing Attention | p. 234 |
Relating to the Image | p. 235 |
Graphics | p. 236 |
Graphic Characteristics | p. 236 |
Structuring Graphics | p. 237 |
Visual Effects | p. 238 |
Notes | p. 240 |
The Final Stages of Moviemaking | p. 242 |
Transferring Back to Film | p. 242 |
Negative Cutting | p. 242 |
Preparing the Sound | p. 242 |
Incorporating Visual Effects | p. 243 |
Laboratory Work | p. 244 |
Film Projection | p. 246 |
Video Distribution | p. 247 |
Netcasting | p. 248 |
Festivals | p. 248 |
Other Possibilities | p. 249 |
Digital Cinema | p. 249 |
Notes | p. 251 |
Glossary | p. 252 |
Index | p. 265 |
Table of Contents provided by Ingram. All Rights Reserved. |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.