Top
| Getting Started | |
| Developing Your Idea and Doing the Research | |
| The Role of the Producer Testing the Waters Narrative Structures Doing the Research Gaining Access to Sources | |
| The Long-term Project and You | |
| Building Characters and the Visual Story | |
| The Interplay of Characters and Sequences Subjects as Personalities Capturing Visual Sequences | |
| Visual Style Decisions Ethics and Visuals | |
| Preparing for Collaboration Friendly Collaboration | |
| Participants Outside Collaborators Choosing Collaborators Contracts | |
| Proposals, Budgets, and Fundraising Preparing for Fundraising Sources of Money | |
| Grants Co-productions and Pre-sales Proposals and Budgets Sample Treatment | |
| Preproduction | |
| Preparation for the Long Haul Office | |
| Needs Access Problems Shooting Abroad Scripting in Advance | |
| Legal Issues Equipment and Crews | |
| Production | |
| Planning for Interviews Priorities | |
| The Art of Conversational Inquiry Planning a Visual Style At the Interview | |
| Location During the Interview | |
| Sound Considerations The Value of Good Audio | |
| The Sound Recordist | |
| The Types of Location Sound | |
| The Cinematographer Alone Audio Basics Legal Issues | |
| Natural or Portable Lighting Light and Cameras | |
| Using Natural Light Light Basics Portable Lights Safety Issues | |
| Production: Shooting the Documentary | |
| The Art of Cinematography | |
| The Director and the Cinematographer Production Crews Visual Grammar Framing Shots with Intention | |
| Schedules and Preparation Selecting Additional Equipment | |
| Internet and Small Screen Video | |
| The Internet's Promise Trailers and Web Buzz | |
| User Generated Sites Aesthetics of the Small Screen Copyrights and Pirating | |
| Postproduction | |
| Using Music in Your Documentary Choosing the Music Pre-recorded Music and Licenses Original Music | |
| The Producer's Search for Structure Overall | |
| Organizing Strategies Finding the Story in the Edit Room Structural Models | |
| Paper Edit Scripts Writing for the Ear | |
| Practicing the Editor's Art | |
| The Relationship of the Producer and Editor Finding Structure | |
| Preparation for the Edit Process Beginning | |
| Post With and Without Scripts | |
| The Timeline of Editing | |
| Exposure, Publicity, Distribution, and Festivals Publicity | |
| Exposure and Deals Deliverables, Screeners, and Press Kits | |
| Website Types Rights Film Festivals and Film markets | |
| Broadcast and Educational Markets Screenings and Local Display Appendix | |
| Documentaries to See | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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