| Foreword |
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xxiii | |
| Introduction |
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1 | (1) |
| About This Book |
|
1 | (1) |
| Conventions Used in This Book |
|
2 | (1) |
| What You're Not to Read |
|
3 | (1) |
| Foolish Assumptions |
|
3 | (1) |
| How This Book Is Organized |
|
4 | (1) |
| Part I: Filmmaking and Storytelling |
|
4 | (1) |
| Part II: Gearing Up to Make Your Film |
|
4 | (1) |
| Part III: Ready to Roll: Starting Production on Your Film |
|
4 | (1) |
| Part IV: Finishing Your Film in Post |
|
5 | (1) |
| Part V: Finding a Distributor for Your Film |
|
5 | (1) |
| Part VI: The Part of Tens |
|
5 | (1) |
| Icons Used in This Book |
|
6 | (1) |
| Where to Go from Here |
|
6 | (1) |
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Part I: Filmmaking and Storytelling |
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7 | (40) |
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So You Want to Be a Filmmaker |
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9 | (10) |
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Independents Day versus the Hollywood Way |
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9 | (1) |
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Filmmaking: Traditional or Digital? |
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10 | (2) |
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Traditional: Super-8, 16mm, or 35mm |
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11 | (1) |
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Going digital: Standard or high-def |
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11 | (1) |
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Developing Your Sense of Story |
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12 | (1) |
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Financing Your Film: Where's the Money? |
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12 | (1) |
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On a Budget: Scheduling Your Shoot |
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13 | (1) |
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Planning Your Shoot, Shooting Your Plan |
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13 | (2) |
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Hiring Your Cast and Crewing Up |
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15 | (1) |
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Shooting in the Right Direction |
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15 | (2) |
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15 | (1) |
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16 | (1) |
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Actors taking your direction |
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16 | (1) |
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Directing through the camera |
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16 | (1) |
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Cut It Out! Editing Your Film |
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17 | (1) |
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17 | (1) |
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Simulating film with software |
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17 | (1) |
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Distributing Your Film and Finding an Audience |
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18 | (1) |
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19 | (14) |
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19 | (9) |
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Making 'em laugh with comedy |
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20 | (1) |
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Getting dramatic about it |
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21 | (1) |
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22 | (1) |
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23 | (1) |
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Getting physical: No talk and all action |
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23 | (1) |
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Separating fact from (science) fiction |
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24 | (1) |
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24 | (1) |
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Go West, young man: Westerns |
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25 | (1) |
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25 | (1) |
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Thrilling audiences with suspense |
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26 | (1) |
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Stealing the audience's attention: Crime pays |
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26 | (1) |
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Making music with musicals |
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27 | (1) |
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Kidding around: Family friendly films |
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27 | (1) |
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28 | (5) |
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28 | (2) |
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30 | (1) |
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Documenting documentaries |
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30 | (1) |
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Shooting short films: Keep it brief! |
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31 | (1) |
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Directing television programs |
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31 | (1) |
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32 | (1) |
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Minding your PSAs: Public service announcements |
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32 | (1) |
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Feel like dancing? Music videos |
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32 | (1) |
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Industrials: Industrial strength |
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32 | (1) |
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Penning and Pitching a Great Story |
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33 | (14) |
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Screening for the Perfect Screenplay |
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33 | (3) |
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The ''write'' way to find a writer |
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34 | (1) |
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34 | (2) |
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Writing Your Own Original Screenplay |
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36 | (8) |
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Structuring your screenplay |
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36 | (2) |
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38 | (1) |
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39 | (1) |
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Drafting your screenplay: Scene by scene |
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39 | (3) |
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Collaborating with writer's software |
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42 | (1) |
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Formatting your screenplay |
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43 | (1) |
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Selling Your Screenplay to a Production Studio, Distributor, or Investor |
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44 | (3) |
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Getting your foot (and screenplay) in the door |
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44 | (1) |
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45 | (2) |
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Part II: Gearing Up to Make Your Film |
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47 | (98) |
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Scheduling and Budgeting Your Film |
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49 | (20) |
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The Art of Scheduling a Film |
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50 | (9) |
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51 | (1) |
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Breaking into breakdown sheets |
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52 | (2) |
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Creating production strips |
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54 | (2) |
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Stripping down your schedule |
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56 | (1) |
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Scheduling software to make your life easier |
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57 | (2) |
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Balancing Your Film Budget |
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59 | (6) |
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Tightrope walking above the line |
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59 | (2) |
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61 | (2) |
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63 | (1) |
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Budgeting for budget software |
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63 | (2) |
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Factoring in a contingency amount |
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65 | (1) |
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Insurance Is Your Best Policy |
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65 | (4) |
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Finding an insurance broker |
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67 | (1) |
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68 | (1) |
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69 | (14) |
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Creating an Enticing Prospectus |
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69 | (2) |
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70 | (1) |
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70 | (1) |
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Info about your cast and crew |
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71 | (1) |
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Your budget and profit projections |
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71 | (1) |
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71 | (4) |
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Locating potential investors: Show me the money! |
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72 | (1) |
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Approaching a potential investor |
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73 | (1) |
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Keeping the Securities and Exchange Commission in mind |
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74 | (1) |
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75 | (3) |
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Being in the right company |
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75 | (3) |
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Other things to do to set up your company |
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78 | (1) |
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78 | (1) |
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Contracting Your Investor |
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79 | (1) |
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Tapping into Alternative Sources |
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80 | (3) |
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80 | (1) |
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81 | (1) |
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81 | (1) |
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Bartering: Trade you this for that |
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81 | (2) |
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Location, Location, Location |
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83 | (14) |
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83 | (3) |
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Managing location scouts and managers |
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84 | (1) |
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Evaluating potential locations |
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85 | (1) |
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Taking a picture: Say ''cheese'' and ''thank you'' |
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86 | (1) |
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Sounding Off about Soundstages |
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86 | (3) |
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Finding --- or creating --- a sound stage |
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87 | (1) |
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Putting up walls: Using flats |
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87 | (2) |
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Shooting in the United States or Crossing the Border? |
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89 | (2) |
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Researching U.S. government incentives |
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90 | (1) |
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90 | (1) |
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91 | (1) |
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Virtual Locations: Creating New Worlds on a Computer |
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92 | (1) |
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93 | (2) |
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94 | (1) |
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94 | (1) |
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Mapping out your locations |
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94 | (1) |
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95 | (1) |
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|
95 | (1) |
|
Shooting Second-Unit Locations |
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95 | (2) |
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Crewing Up: Hiring Your Crew |
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97 | (18) |
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|
97 | (13) |
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|
98 | (1) |
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|
99 | (1) |
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Stepping over the line producer |
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100 | (1) |
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Uniting with a production manager |
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101 | (1) |
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101 | (1) |
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Directing photography with a cinematographer |
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|
102 | (2) |
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104 | (1) |
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105 | (1) |
|
Sounding like your sound mixer |
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105 | (1) |
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105 | (1) |
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Propping up the prop master |
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106 | (1) |
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Dressing up the wardrobe department |
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106 | (1) |
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107 | (1) |
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107 | (1) |
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107 | (1) |
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108 | (1) |
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109 | (1) |
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Finding and Interviewing Your Crew |
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110 | (1) |
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Creative Ways to Pay Your Crew |
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111 | (2) |
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Paying later: Deferments or points |
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111 | (1) |
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111 | (1) |
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112 | (1) |
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112 | (1) |
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Hiring crew as independent contractors |
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112 | (1) |
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Union or non-union --- that's the question |
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113 | (1) |
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Putting a Contract Out on Your Crew |
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113 | (2) |
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Assembling Your Cast of Characters |
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|
115 | (14) |
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Hooking Your Cast and Reeling Them In |
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115 | (4) |
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116 | (1) |
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Casting through casting directors |
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116 | (1) |
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117 | (1) |
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118 | (1) |
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Accessing actor directories |
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118 | (1) |
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Screening an Actor's Information |
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119 | (3) |
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119 | (2) |
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121 | (1) |
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Spinning an actor's Web site |
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121 | (1) |
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Auditioning Your Potential Cast |
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122 | (2) |
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Creating a friendly environment |
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122 | (1) |
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Inspecting an actor's etiquette |
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122 | (1) |
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123 | (1) |
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Avoiding bitter-cold readings |
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123 | (1) |
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Monologues leave you all by yourself |
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124 | (1) |
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Making the Cut: Picking Your Cast |
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124 | (2) |
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124 | (1) |
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125 | (1) |
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125 | (1) |
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Agreeing with Actors' Agreements |
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126 | (3) |
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Contracting union players |
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126 | (1) |
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Contracting non-union players |
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126 | (2) |
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Securing releases from extras |
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128 | (1) |
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129 | (16) |
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Understanding the Basics and Benefits of Storyboarding |
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129 | (2) |
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131 | (3) |
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Breaking down your script |
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131 | (1) |
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132 | (1) |
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132 | (1) |
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Framing storyboard panels |
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133 | (1) |
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Deciding What to Include in Each Panel: Putting Pencil to Paper |
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134 | (4) |
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Choosing the right angles |
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134 | (1) |
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Imagining camera and actor movement |
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135 | (1) |
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Boarding your special effects |
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136 | (1) |
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Sketching out the actors, props, and vehicles |
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137 | (1) |
|
Looking at lighting and location |
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137 | (1) |
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I Can't Draw, Even If My Life Depended on It |
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138 | (7) |
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Designing with storyboard software |
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138 | (2) |
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Drawing the help of a professional artist |
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140 | (5) |
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Part III: Ready to Roll: Starting Production on Your Film |
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|
145 | (86) |
|
Shooting through the Looking Glass |
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147 | (20) |
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Choosing the Right Camera |
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147 | (8) |
|
Rolling with film cameras |
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148 | (2) |
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Recording with digital camcorders |
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150 | (5) |
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Do You Need Glasses? Types of Lenses and What They Do |
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155 | (12) |
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156 | (11) |
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167 | (16) |
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167 | (1) |
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Shedding Some Light on Lighting Jargon |
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168 | (15) |
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Big Foot-candles: Lighting for film cameras |
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168 | (1) |
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Lux (and cream cheese): Lighting for digital (SD and HD) |
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168 | (1) |
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Taking your color temperature |
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169 | (1) |
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Illuminating with soft light versus hard light |
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170 | (13) |
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Sound Advice: Production Sound |
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183 | (14) |
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Testing, Testing, 1, 2, 3 |
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183 | (1) |
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184 | (2) |
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Mixing it up with your mixer |
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184 | (1) |
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Making room for the boom operator |
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185 | (1) |
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Choosing Analog or Digital Sound |
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186 | (2) |
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Analog: The sound of Nagra Falls |
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186 | (1) |
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DAT recorders and dat's not all |
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187 | (1) |
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In the field with digital recorders |
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187 | (1) |
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Recording with Microphones |
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188 | (4) |
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Shooting with shotgun microphones |
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189 | (2) |
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191 | (1) |
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191 | (1) |
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191 | (1) |
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192 | (1) |
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Walking and Talking: Walkie-Talkies on Set |
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192 | (1) |
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193 | (1) |
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Shushing the camera: Barney hears you |
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193 | (1) |
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Silencing footsteps with sound blankets and foot foam |
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193 | (1) |
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Getting Up to Speed Safe and Sound |
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194 | (1) |
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Slating with the clapper board |
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194 | (1) |
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Syncing picture and sound with timecode |
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195 | (1) |
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Capturing On-Set Ambience |
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195 | (1) |
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196 | (1) |
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Directing Your Actors: ... And Action! |
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197 | (14) |
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Getting Your Actors Familiar with the Material --- and Each Other |
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197 | (2) |
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Remembering that familiarity breeds content |
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198 | (1) |
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Reading through the script: The table read |
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199 | (1) |
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Adjusting dialogue to make it read naturally |
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199 | (1) |
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Being a Parent and Mentor to Your Actors --- with No Allowance |
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199 | (1) |
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Preparing Your Actors before the Shoot |
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200 | (6) |
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201 | (1) |
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Rehearsing the characters, not just the lines |
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202 | (1) |
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Discovering the characters' backstories |
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203 | (1) |
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Reading between the lines: Subtext |
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204 | (1) |
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Exercising and warming up your actors |
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204 | (1) |
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205 | (1) |
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Speaking with body language |
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206 | (1) |
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Directing Actors during the Shoot |
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206 | (5) |
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Encouraging your actors to ask questions --- but not too many |
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206 | (1) |
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Reminding your actors that less is more --- more or less |
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207 | (1) |
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Feeling the words, not just memorizing |
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208 | (1) |
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Blocking, walking, and talking |
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208 | (1) |
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209 | (1) |
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209 | (1) |
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210 | (1) |
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A Sense of Direction: Directing Your Film |
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211 | (20) |
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211 | (3) |
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212 | (1) |
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Training yourself as a director |
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213 | (1) |
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Translating Script to Screen |
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214 | (2) |
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Understanding the screenplay |
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215 | (1) |
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Rewriting or adjusting the script |
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216 | (1) |
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Visualizing your screenplay |
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216 | (1) |
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Mapping Out Your Plans for the Camera |
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216 | (3) |
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217 | (1) |
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217 | (1) |
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217 | (1) |
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Making notes on the script |
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218 | (1) |
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Planning with models (not the high-fashion kind) |
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219 | (1) |
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Continuing Continuity with Your Script Supervisor |
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219 | (3) |
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219 | (1) |
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Inserting coverage and cutaways |
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220 | (1) |
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Screen direction: Your other left |
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221 | (1) |
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222 | (6) |
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Where the heck are we? Establishing a wide shot |
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223 | (1) |
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You don't have to be a psychic to get a medium shot |
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224 | (1) |
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Two shot: Three's a crowd |
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224 | (2) |
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I'm ready for my close-up |
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226 | (2) |
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Picture This: Deciding When to Move the Camera and Why |
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228 | (3) |
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228 | (1) |
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Craning to get a high shot |
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229 | (1) |
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229 | (2) |
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Part IV: Finishing Your Film in Post |
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231 | (62) |
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Cut to: Editing Your Film Frame by Frame |
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233 | (18) |
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Editing Your Film: Putting One Frame in Front of the Other |
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233 | (5) |
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Choosing an editor: Who cut this? |
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234 | (1) |
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235 | (1) |
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236 | (1) |
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Building a director's cut |
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236 | (1) |
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Photo finish: Finalizing a final cut |
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237 | (1) |
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Listening to the sound editor |
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237 | (1) |
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Linear versus Non-Linear Editing |
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238 | (2) |
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238 | (1) |
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239 | (1) |
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240 | (5) |
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240 | (1) |
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Cutting it with editing software |
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241 | (3) |
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Posting your production in your computer |
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244 | (1) |
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244 | (1) |
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Developing a Relationship with Your Film Lab |
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245 | (3) |
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Developing negatives, producing prints, and more |
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246 | (1) |
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Being positive about a negative cutter |
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246 | (1) |
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Color-correcting your film: As plain as black and white |
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247 | (1) |
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Answering your first film print |
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248 | (1) |
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Cloning, Not Copying; Cloning, Not Copying |
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248 | (3) |
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Posting Your Film's Soundtrack: Adding Music & Effects to the Mix |
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251 | (14) |
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Finishing Sound in Postproduction |
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251 | (4) |
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Stirring up the mixer's toolbox |
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252 | (1) |
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253 | (1) |
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254 | (1) |
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Creating Sound Effects with a Bang |
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255 | (3) |
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Listening to sound-effects libraries |
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255 | (1) |
|
Creating and recording your own sound effects |
|
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256 | (1) |
|
Getting to know Jack Foley |
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257 | (1) |
|
Adding room tone: Ambience or background sounds |
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258 | (1) |
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258 | (5) |
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Conducting a composer to set the mood |
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258 | (1) |
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259 | (1) |
|
The sound of music libraries |
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260 | (1) |
|
Playing with original songs |
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261 | (1) |
|
Orchestrating the rights to popular music |
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262 | (1) |
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262 | (1) |
|
Singing songs in the public domain |
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263 | (1) |
|
Outputting Your Final Mix |
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|
263 | (2) |
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264 | (1) |
|
Separating music and effects tracks for foreign release |
|
|
264 | (1) |
|
Conjuring Up Special Effects |
|
|
265 | (20) |
|
Creating Effects: In or Out of Camera? |
|
|
265 | (2) |
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|
267 | (5) |
|
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|
267 | (1) |
|
Dishing out special-effects plates |
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268 | (1) |
|
Painting scenery into your shots: Matte paintings |
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|
269 | (1) |
|
Have you seen scenic backdrops? |
|
|
269 | (1) |
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270 | (1) |
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271 | (1) |
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|
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272 | (3) |
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Looking down on miniatures |
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272 | (1) |
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Forcing the perspective, forcefully |
|
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273 | (1) |
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273 | (2) |
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Creating Effects Right in the Camera |
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275 | (3) |
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Backward about reverse photography |
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275 | (1) |
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Double exposure, double exposure |
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276 | (1) |
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276 | (1) |
|
Creating effects with lenses and filters |
|
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277 | (1) |
|
Exploding Effects on Fire |
|
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278 | (1) |
|
Making Up Your Mind about Make-Up Effects |
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279 | (6) |
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279 | (1) |
|
Here's looking at scleral lenses |
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280 | (1) |
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281 | (4) |
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285 | (8) |
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285 | (1) |
|
Writing a Running List of Names and Positions |
|
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286 | (1) |
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286 | (1) |
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287 | (1) |
|
Designing Your Titles and Credits |
|
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287 | (3) |
|
Designing the style with fonts |
|
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288 | (1) |
|
Animating your main title and credits |
|
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288 | (1) |
|
Digital or optical credits |
|
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289 | (1) |
|
Crediting without a computer |
|
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289 | (1) |
|
Rolling Your Title and Credits |
|
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290 | (3) |
|
Timing the opening and ending credits |
|
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290 | (1) |
|
Ordering your title and credits |
|
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291 | (1) |
|
Ensuring the safety of your credits |
|
|
292 | (1) |
|
Covering Your Eyes: Stripping Titles for Foreign Textless |
|
|
293 | (1) |
|
Part V: Finding a Distributor for Your Film |
|
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293 | (32) |
|
|
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297 | (20) |
|
Understanding How Distribution Works |
|
|
297 | (2) |
|
Presenting Your Film to Distributors |
|
|
299 | (3) |
|
Posting a poster of your film |
|
|
299 | (1) |
|
Picturing the set photographer |
|
|
300 | (1) |
|
Pulling your audience in with a trailer |
|
|
300 | (1) |
|
|
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301 | (1) |
|
Distributing Your Film Domestically |
|
|
302 | (3) |
|
|
|
303 | (1) |
|
Anticipating ancillary rights |
|
|
304 | (1) |
|
Meeting domestic buyers at the Home Media Expo |
|
|
305 | (1) |
|
Distributing Your Film around the World |
|
|
305 | (12) |
|
Selling your film at the super markets |
|
|
306 | (1) |
|
Negotiating: How much for your film? |
|
|
307 | (1) |
|
|
|
308 | (9) |
|
Exploring and Entering Film Festivals |
|
|
317 | (8) |
|
Demystifying Film Festivals |
|
|
317 | (3) |
|
Judging the difference between a film festival and a film market |
|
|
318 | (1) |
|
Screening the benefits of entering film festivals |
|
|
319 | (1) |
|
Entering and Winning Secrets |
|
|
320 | (1) |
|
Submitting a work-in-progress --- Don't! |
|
|
320 | (1) |
|
Entering the right festivals for your film |
|
|
320 | (3) |
|
Choosing the appropriate genre and category |
|
|
323 | (1) |
|
Writing a great synopsis of your film |
|
|
324 | (1) |
|
Picture perfect: Selecting the best photos from your film |
|
|
324 | (1) |
|
|
|
325 | (1) |
|
|
|
325 | (1) |
|
Getting an entry-fee discount |
|
|
326 | |
|
Part VI: The Part of Tens |
|
|
325 | (18) |
|
Ten Tips for Discovering New Talent |
|
|
329 | (4) |
|
Viewing Independent Films |
|
|
329 | (1) |
|
|
|
330 | (1) |
|
Attending Actors' Showcases |
|
|
330 | (1) |
|
|
|
330 | (1) |
|
Talking to Agents and Managers |
|
|
331 | (1) |
|
Searching the Academy Players Directory |
|
|
331 | (1) |
|
Schmoozing at Film Festivals and Markets |
|
|
331 | (1) |
|
|
|
332 | (1) |
|
|
|
332 | (1) |
|
|
|
332 | (1) |
|
Ten Ways to Get Publicity for Your Film |
|
|
333 | (4) |
|
Submitting a Press Release |
|
|
333 | (1) |
|
Doing a TV or Radio Interview |
|
|
334 | (1) |
|
Getting a Review from Movie Critics |
|
|
334 | (1) |
|
Mailing Out DVD Screeners |
|
|
334 | (1) |
|
|
|
334 | (1) |
|
Emailing and Setting Up a Web Site |
|
|
335 | (1) |
|
Designing T-Shirts and Other Premiums |
|
|
335 | (1) |
|
Planning a Publicity Stunt |
|
|
335 | (1) |
|
Organizing a Screening Party or Charity Event |
|
|
336 | (1) |
|
|
|
336 | (1) |
|
Ten Ways to Avoid Murphy's Law |
|
|
337 | (4) |
|
|
|
337 | (1) |
|
Scouting Locations for Noise |
|
|
338 | (1) |
|
Watching the Weather Channel |
|
|
338 | (1) |
|
Backing Up Locations and Actors |
|
|
338 | (1) |
|
|
|
339 | (1) |
|
Standing by with First-Aid Kit or Medic on Set |
|
|
339 | (1) |
|
Anticipating that Cellphones and Internet Don't Work Everywhere |
|
|
339 | (1) |
|
|
|
339 | (1) |
|
Providing Plenty of Parking |
|
|
340 | (1) |
|
Securing Security Overnight |
|
|
340 | (1) |
|
Powering Up Ahead of Time |
|
|
340 | (1) |
|
Ten Best Filmmaking Periodicals |
|
|
341 | (2) |
|
|
|
341 | (1) |
|
|
|
342 | (1) |
|
|
|
342 | (1) |
|
|
|
342 | (1) |
|
|
|
342 | (1) |
|
|
|
343 | (1) |
|
|
|
343 | (1) |
|
|
|
343 | (1) |
|
|
|
344 | (1) |
|
StudentFilmmakers Magazine |
|
|
344 | |
| Index |
|
343 | |
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