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Producing and Directing the Short Film and Video

ISBN: 9780240803944 | 0240803949
Edition: 2nd
Format: Paperback
Publisher: FOCAL PRESS
Pub. Date: 11/1/2000

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SummaryTable of ContentsAuthor Biography
Considered by many to be the definitive book on the subject, Producing and Directing the Short Film and Video, Second Edition 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 videoall the way from script to final product. This guide offers extensive examples from two award-winning short narrative films (Lunch Date and Truman) and one short documentary (Mirror Mirror), and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. This edition expands on the director's role in pre-visualizing a project, aided by the addition of more than 50 new photos and illustrations. Issues such as storyboarding, lighting, and composition are addressed in detail. Other additions and enhancements include a discussion of the evolving role of digital technology on all aspects of production from script to screen. Producing and Directing the Short Film and Video, Second Edition is accompanied by a companion website (www.focalpress.com/companions) containing useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations. Whether you're a student or an independent filmmaker, this practical guide will demystify the process, and help you to develop and sharpen your skills as you tackle the challenges of making a short film or video.
Preface: Second Editionxiii
Efficio Cognosio (Learn by Doing)xiii
The Power of the Mediaxiv
Acknowledgmentsxv
Introductionxvii
Craft versus Art... MORExviii
Three Short Filmsxviii
Film and Videoxix
Timelinexix
The Producerxix
The Directorxx
The Digital Producerxx
Chapter Breakdownsxxii
Timelinexxiii
Finance
1(10)
Producer
1(1)
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
2(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
7(1)
Director
7(1)
General Fund-Raising Suggestions
8(1)
Be Positive and Be Patient
8(1)
Act Professionally
8(1)
Be Informed
8(1)
Sources for Students
9(1)
Fund-Raising Strategies
9(1)
Key Points
9(2)
Script
11(14)
Producer
11(1)
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)
How Are Scripts Developed?
14(1)
Workshops
14(1)
Working with a Writer
15(1)
Legalities
15(1)
Rights and Adaptations (Preexisting Material)
15(1)
Noncommercial/Festival Rights
16(1)
Original Material
16(1)
Copyright
16(1)
Expanding the Creative Team: The Director
16(1)
How Do Scripts Affect Budgets?
16(1)
Director
16(1)
Director as Storyteller
17(1)
Working with the Writer
17(1)
Basic Guidelines for the Short Form
17(5)
Length
18(1)
The Central Theme
18(1)
Conflict
18(1)
The Dramatic Arc
19(1)
One Major Character
20(1)
Follow Through
20(1)
One Primary Event
20(1)
Dramatic Expectations
21(1)
Minimum Back Story
21(1)
Internal Motives, External Action
21(1)
No Talking Heads
21(1)
Rewriting
22(1)
Readings
22(1)
Images before Words
22(1)
The Shooting Script
22(1)
Documentaries
23(1)
Story Questions
24(1)
Scene Analysis
24(1)
Key Points
24(1)
part I Preproduction25(106)
Breakdowns
31(16)
Producer
31(1)
Production Book
31(1)
Proper Script Format
32(1)
Breaking Down the Script
32(6)
Step 1: Breakdowns
32(4)
Step 2: Schedule
36(2)
Step 3: Budget
38(1)
Director
38(1)
Developing a Shooting Plan
39(7)
Know the Script
39(1)
Know the Theme
40(1)
Know What Each Character Wants in the Story
40(1)
Develop a History of the Main Characters
40(1)
Break Down Each Scene into Dramatic Beats
40(2)
Determine a Visual Style for the Story
42(1)
Settle on Pacing and Tone
42(1)
Create Floor Plans and Storyboards
42(2)
Make a Shot List
44(2)
Workshop Ideas on Video
46(1)
The Final Word
46(1)
Key Points
46(1)
Schedule
47(14)
Producer
47(1)
General Guidelines
47(4)
Fixed Dates
48(1)
Locations
48(1)
Cast
48(1)
Exteriors
49(1)
Night Shooting
49(1)
Continuity of Sequences
49(1)
Child Actors
50(1)
Time of Year
50(1)
Weather
50(1)
Special Effects, Stunts, and Animals
50(1)
Crowd Sequences
51(1)
Special Equipment
51(1)
Turnaround, Setup Time, and Swing Crews
51(1)
Other Considerations
51(1)
Beginning the Schedule
51(1)
Creating the Schedule
51(1)
Making the Day
52(3)
Keep the Day under 12 Hours!
55(1)
Shooting during Preproduction
55(1)
Locking the Schedule
55(1)
Call Sheet
55(2)
Scheduling Documentaries
57(1)
Student Scheduling Tips
57(1)
Computers and Production
58(1)
Director
58(1)
Coverage = Time = Schedule
58(1)
The First Day
59(1)
Contingency Plans for Overages
59(1)
Things Change
60(1)
Key Points
60(1)
Budget
61(16)
Producer
61(1)
The Budget Form
62(11)
Above-the-Line Costs
62(2)
Below-the-Line Costs
64(7)
Postproduction
71(2)
Beginning the Budget
73(1)
The Budget Process
73(1)
Information Is Power
73(1)
Production Value
74(1)
Student Budgets
74(1)
Director
75(1)
Learning by Doing
75(1)
Key Points
76(1)
Crewing
77(14)
Producer
77(1)
Who Hires the Crew?
77(1)
When Do You Need a Crew?
77(1)
How Big a Crew Do You Need?
78(1)
The 3--30 Rule
78(1)
Selecting the Crew
78(2)
Attracting the Right People
79(1)
Evaluating Credits
79(1)
Negotiating the Deal
80(1)
Key Crew Members
80(7)
Production Manager
80(1)
Assistant Director
81(1)
Director of Photography
82(2)
Production Sound Mixer
84(1)
Art Director
85(1)
Production Assistant
86(1)
Specialty Crew
87(1)
Video Shoots
87(1)
Documentary Crews
87(1)
Developing the Right Chemistry
87(1)
Director
88(1)
Director's Disease
88(1)
Key Points
89(2)
Location
91(10)
Producer
91(1)
Where to Look for Locations
91(1)
Scouting the Locations
92(1)
Lighting
92(1)
Power
92(1)
Sound
92(1)
Green Room and Other Special Areas
92(1)
Safety and Security
92(1)
Securing the Location
93(2)
Location Contract
93(1)
Location Fee
93(1)
Permits
93(1)
Insurance
93(1)
Communication
93(1)
Transportation
94(1)
Catering
94(1)
Company Moves
94(1)
Parking
94(1)
Proximity
94(1)
Backups
95(1)
Director
95(1)
Aesthetic Concerns versus Practical Limitations
95(1)
Be Flexible
95(1)
The Power of Illusion
95(2)
What Does the Script Require?
96(1)
Identifying the Location
97(2)
Interior or Exterior
97(1)
Day or Night
97(1)
Stage or Practical Location
97(1)
Near or Distant
98(1)
Walk-Throughs
99(1)
Key Points
99(2)
Art Direction
101(10)
Producer
101(1)
The Art Department
101(1)
Responsibilities of the Art Department
102(4)
Sets and Locations
102(1)
Working with the DP
103(1)
Set Dressing
103(1)
Duplicate Set Items
103(1)
Props
103(1)
Wardrobe
104(2)
Makeup
106(1)
Hair
106(1)
The Producer's Role
106(1)
Director
107(1)
How to Define the ``Look''
108(1)
Architect of Illusion
108(1)
Black-and-White versus Color
108(1)
Images Can Tell a Story
108(1)
Breakdowns---Listen to the Script
109(1)
Defining the Space with Storyboards
109(1)
Camera Tests
110(1)
Key Points
110(1)
Casting
111(10)
Producer
111(1)
The Casting Director
111(1)
The Basic Casting Steps
112(2)
Advertise Specific Roles
112(1)
Scout Local Theater Companies
113(1)
Scout Acting Schools
113(1)
Organize Submitted Head Shots and Resumes
113(1)
Arrange Casting Calls
113(1)
Arrange Callbacks
113(1)
Negotiate with Selected Actors
114(1)
Deal with Rejected Actors
114(1)
Added Benefits of Casting
114(1)
Director
115(1)
Casting
115(4)
Casting Children
115(1)
Audition Guidelines
116(3)
Key Points
119(2)
Rehearsals
121(10)
Director
121(1)
Before Rehearsals
121(1)
Getting to Know the Actor
121(1)
Developing Mutual Trust
122(1)
Researching the Character
122(1)
Rehearsals
122(5)
Benefit of Rehearsal
122(1)
Rehearsal Schedule
123(1)
Read-Through
123(1)
Develop the Theme
123(1)
Keep Notes
123(1)
Scene by Scene
123(1)
Videotape the Rehearsals
124(1)
Shaping the Scene
124(2)
Communicating on the Set
126(1)
Special Situations
126(1)
Producer
127(1)
Sample Preproduction Schedule
127(1)
Preproduction Planning Suggestions
128(1)
Production Meeting Suggestions
128(2)
Week 1
128(1)
Week 2
128(1)
Week 3
129(1)
Week 4
129(1)
Week 5
129(1)
Week 6
129(1)
Week 7
130(1)
Shoot Date
130(1)
Key Points
130(1)
part II Production131(86)
Set Procedures
135(12)
Director
135(1)
Running the Set
135(1)
A Typical Day
135(2)
Camera Moves
137(1)
Video Tap
137(1)
Slates
138(2)
Slating Procedure
138(1)
Slate Lights
138(1)
Smart Slates
139(1)
In-Camera Slates
139(1)
Informal Slates
139(1)
Tail Slates
140(1)
Video Slates
140(1)
Action! Cut!
140(1)
Script Supervision
140(2)
Producer
142(1)
Guidelines
142(2)
Keep Morale Up
142(1)
Support the Director and the Creative Team
142(1)
Watch the Budget
143(1)
Act as Coordinator
143(1)
Keep the Production Moving Ahead
143(1)
Be a Troubleshooter
143(1)
Safety on the Set
144(1)
Proper Wrap-Out
144(1)
Dailies
144(1)
Key Points
145(2)
Camera
147(38)
Director
147(1)
Keeping Up with Technology
147(1)
Style
148(1)
Collaboration with the Camera Department
148(2)
Stock
148(1)
Consult with the Director of Photography
149(1)
Do Your Homework
149(1)
Shot List
150(1)
Introduce the Camera During Preproduction
150(1)
The Camera as Storyteller
150(20)
Composition of Shot
151(3)
Focus
154(1)
Use of Color and Black-and-White
154(1)
Type of Shot
155(3)
Size of Shot
158(1)
Lens
158(1)
Shot Perspectives
158(1)
Camera Movement
159(5)
Coverage
164(1)
Second Unit/B-Roll
164(1)
Continuity
164(2)
Specialty Shots
166(1)
Lighting
167(3)
Editing
170(1)
Equipment
170(4)
Film Camera
170(2)
Film Formats
172(1)
Aspect Ratio
172(2)
Camera Terms
174(1)
Tests
175(1)
Video
175(2)
Video Camera
175(1)
Camcorder
175(1)
Monitor
176(1)
Component versus Composite Video
176(1)
Video Formats
177(4)
Analog Formats
178(1)
Digital Formats
179(1)
DV, DVCAM, and DVCPRO
179(1)
HDTV
180(1)
Tape Stock
180(1)
Other Equipment
181(1)
Grip Package
181(1)
Lighting Package
181(1)
Tricks
181(1)
Poor Man's Process
182(1)
Simple Mattes
182(1)
Night for Day
182(1)
Producer
182(1)
Responsibilities of the Producer
182(1)
Laboratory
182(1)
Equipment
182(1)
Rental House
182(1)
Technical Considerations
183(1)
Power
183(1)
Lights
183(1)
Fans
183(1)
Key Points
183(2)
Sound
185(14)
Director
185(1)
Production Sound
185(1)
Sound Preparation
186(1)
Location Scout
186(1)
Responsibilities of the Sound Team
187(3)
Dialogue
187(1)
Perspective
187(1)
Sound Effects
188(1)
Room Tone
188(1)
Additional Sounds
188(1)
Sound Reports
188(1)
Consistency in Sound Recording
189(1)
Playback/Music Video
190(1)
Set Procedure
190(1)
Basic Attitude on the Set
191(1)
Communication with Boom Operator
191(1)
Approaches to Recording Sound
191(2)
Boom
191(1)
Plants/Stash
192(1)
Lavaliere
192(1)
Radio Microphones
193(1)
Variables for Placing Microphones
193(1)
Recording Concerns
194(1)
Pickups
194(1)
Keeping It Clean
194(1)
Difficult Situations
194(1)
Crowd Scenes
195(1)
Video Sound
195(1)
Documentary
196(1)
Producer
196(1)
Equipment Needs for the Shoot
196(1)
Film
196(1)
Video
196(1)
Microphones
197(1)
Care of Equipment
197(1)
Nagra
197(1)
DAT
198(1)
Key Points
198(1)
Art
199(8)
Director
199(1)
Set Procedures
199(1)
Set Dressing
200(1)
Continuity
200(1)
Duplicates
201(1)
Props
201(2)
Continuity
201(1)
Duplicates
201(1)
Personal Effects
202(1)
Improvisation
202(1)
Wardrobe
203(1)
Special Rigs
203(1)
Makeup
203(1)
Continuity
203(1)
Positive Reinforcement
203(1)
Special Effects
203(1)
Hair
203(1)
Continuity
203(1)
Additional Crew
203(1)
producer
204(1)
Sets
204(1)
Key Points
205(2)
Cast
207(10)
Director
207(1)
The Process
207(4)
Call Time
207(1)
Makeup and Hair
207(1)
Stand-ins
208(1)
On Call
208(1)
Final Staging
208(1)
Technical Requirements
208(2)
The Director as Audience
210(1)
Directing Actors
211(5)
The Director's Tools
211(1)
Types of Characters
211(2)
Continuity
213(1)
Special Situations
213(2)
Interviewing for Documentaries
215(1)
Interview Questions
215(1)
Producer
216(1)
Socializing
216(1)
Contracts and Deal Memos
216(1)
Firing Talent
216(1)
Key Points
216(1)
part III Postproduction217(124)
Picture Postproduction
223(36)
Director
223(1)
Film Editing Basics
223(2)
Syncing Dailies
223(1)
Coding and Logging Dailies
224(1)
Video Editing Basics
225(4)
Basic Stages of Traditional Linear Videotape Editing
225(2)
Tape Editing Systems
227(1)
Off-Line Editing
228(1)
The EDL
228(1)
On-Line Edits
229(1)
Digital Basics
229(5)
Key Terms
229(1)
SMPTE Timecode
229(2)
Analog versus Digital
231(1)
Sampling Rate
231(1)
Advantages of Digital
232(1)
Broadcast Quality
232(1)
Resolution
232(1)
Digital Compression
233(1)
What Is Nonlinear?
234(4)
Film-Style Editing
234(1)
Random Access
234(1)
Digital Nonlinear Editing
235(1)
Basic Components of a Nonlinear Editing System
236(1)
Capturing and Organizing Clips
236(1)
Digitizing
237(1)
Editing Sequences
238(2)
Editing Interface and Timeline
238(1)
Basic Sound Editing
239(1)
Special Video Effects
240(2)
Types of Effects
240(1)
Ending a Season
241(1)
Film to Video
242(2)
Telecine
242(1)
Video Dailies
243(1)
The Editing Process
244(2)
The Creative Steps to Editing
244(1)
Screening the Dailies
244(1)
Assembling the First Cut
244(1)
Speed in Editing
245(1)
Editing Techniques
246(2)
Evolution of the Edit
248(2)
Shifts in Tone
248(1)
Analyzing the Rough Cut
249(1)
Restructuring the Picture
250(1)
Adding Reshoots, Reprints, and Stock Footage
250(1)
Screening the Second Cut
251(1)
Temporary Music
252(1)
Screenings
252(1)
Locking the Picture
252(1)
Technical Considerations When Editing Film on Video
252(1)
Final Thoughts about the Impact of Nonlinear Editing
253(1)
Producer
253(1)
What You Want from a System
253(1)
What Is Available
254(1)
Editing Room
254(1)
Postproduction Schedule
254(1)
The Editor
254(2)
Finding an Editor
254(1)
Evaluating Prospective Editors
255(1)
The Director as Editor
255(1)
Stepping Back and Looking Ahead
256(1)
Key Points
257(2)
Sound Postproduction
259(22)
Director
259(1)
Sound in the Digital Age
260(1)
The Digital Audio Workstation
260(1)
Basic Steps
260(1)
Projects Shot on Video
260(1)
Projects Shot on Film
261(1)
Respect for Sound
261(1)
How We Perceive Sound versus Picture
261(1)
Sound Equals Space
262(1)
Sound Equals Production Value
262(1)
The Design of Sound
262(2)
Do You Need a Sound Designer?
263(1)
Preparing for the Mix
264(1)
Spotting
264(1)
Dialogue Tracks
265(3)
Cutting Dialogue
266(1)
Automatic Dialogue Replacement
266(1)
Walla
267(1)
Voice-Overs and Narration
267(1)
Sound Effects Tracks
268(4)
Unique or Enhanced Sounds
269(1)
Cue Sheets
270(1)
Tracks and Sound Fill
270(2)
Music Tracks
272(3)
The Music Team
272(1)
The Original Score
273(2)
Preexisting Music
275(1)
The Mix
275(2)
Rhythm of the Mix
276(1)
Video (Linear)
276(1)
Preparing for a Mix: Nonlinear
276(1)
Digital Mix
277(1)
Different Formats
277(1)
Producer
277(2)
New Technology
279(1)
The Moral
279(1)
Key Points
279(2)
Laboratory/On-Line
281(8)
Director
281(1)
Opticals
282(1)
Cutting the Negative
283(1)
Film Matchback
284(1)
24/30 Frame Issues
284(1)
Timing
285(1)
Types of Prints
285(1)
Mute Print
285(1)
First Trial
285(1)
Answer Print
286(1)
Release Print
286(1)
Video Copy
286(1)
Traditional Linear Video On-Line
286(1)
Nonlinear On-Line Edit
286(1)
Video to Film Transfer
287(1)
Systems
287(1)
Producer
287(1)
Looking Ahead
288(1)
Key Points
288(1)
Distribution
289(52)
Producer
289(1)
Start Early
290(1)
The Markets
290(6)
Theatrical Markets
290(1)
Nontheatrical Markets
290(1)
Education
291(1)
Institutional Market
292(1)
Exhibition
293(1)
Television
294(1)
Video
295(1)
The Internet
295(1)
Foreign Markets
295(1)
Distribution Options
296(1)
Self-Distribution
296(1)
Distributor
296(1)
Approaching a Distributor
297(1)
General Distribution
297(1)
Foreign Distribution
297(1)
Marketing Your Short Film or Video
298(1)
The Press Kit
298(1)
Director
298(1)
Truman
298(1)
Mirror Mirror
299(1)
The Lunch Date
300(3)
Cannes
300(1)
Academy Awards
301(2)
Appendices
A Genres/Special Techniques
303(6)
A History of the Short Film
303(2)
The Academy Awards
305(1)
Special Techniques
305(1)
Animation
305(1)
Genres
306(1)
Experimental or Alternative
306(1)
Corporate
306(1)
Commercials
307(1)
Music Videos
307(2)
B Screening List
309(6)
Short Films and Videos
309(6)
C Case Study Scripts
315(22)
The Lunch Date
315(1)
Concept
315(1)
Synopsis
315(6)
Truman
321(1)
Concept
321(1)
Synopsis
321(10)
Mirror Mirror
331(1)
Concept
331(1)
Synopsis
331(6)
D Insurance and Legal Matters
337(4)
Insurance
337(1)
Comprehensive Liability
337(1)
Miscellaneous Equipment
337(1)
Third-Party Property Damage Liability
337(1)
Errors and Omissions
338(1)
Cast Insurance
338(1)
Negative Film and Videotape
338(1)
Faulty Stock, Camera, and Processing
338(1)
Props, Sets, and Wardrobe
338(1)
Extra Expense
338(1)
Worker's Compensation
338(1)
Hired, Loaned, or Donated Auto Liability
338(1)
Hired, Loaned, or Donated Auto Physical Damage
338(1)
Guild/Union Travel Accident
339(1)
Office Contents
339(1)
Animal Mortality
339(1)
Legal
339(1)
Music Rights
339(1)
Public Domain
339(2)
Glossary341(18)
Bibliography/Software/Internet359(1)
Internet359(8)
Index367
David K. Irving is Associate Professor and chair of the Undergraduate Film and Television Department at New York University, Tisch School of the Arts.

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