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Producing and Directing the Short Film and Video 5th edition [Hardback]

4.02/5 (81 ratings by Goodreads)
(Film & Television Department, New York University), (Film & Television Department, New York University)
  • Formāts: Hardback, 496 pages, height x width: 280x210 mm, weight: 1080 g
  • Izdošanas datums: 27-Jul-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1138460370
  • ISBN-13: 9781138460379
Citas grāmatas par šo tēmu:
Producing and Directing the Short Film and Video 5th editionPalielināt
  • Formāts: Hardback, 496 pages, height x width: 280x210 mm, weight: 1080 g
  • Izdošanas datums: 27-Jul-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1138460370
  • ISBN-13: 9781138460379
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781138460379.html
Producing and Directing the Short Film and Video, Fifth Edition is the definitive book on the subject for the serious film student or beginning filmmaker. Its unique two-fold approach looks at filmmaking from the perspectives of both the producer and director, and clearly explains how their separate roles must work together to create a successful short film or video. Through extensive examples from award-winning shorts and insightful interviews, you will learn about common challenges the filmmakers encountered during each step of filmmaking process from preproduction to production, postproduction, and distribution and the techniques they used to overcome them. In celebrating this books twentieth anniversary, this edition has been updated to include:

Two all-new, in-depth cases studies of esteemed short films Memory Lane and the Academy Award-winning God of Love

A revised chapter progression that reinforces the significance of the actor - director relationship

Interviews with the filmmakers integrated alongside the text, as well as new images and behind-the-scenes coverage of production processes

Revamped sections on current financing strategies, postproduction workflows, and the wide variety of distribution platforms now available to filmmakers

A "Where are They Now" appendix featuring updates on the original filmmakers covered in the first edition

An expanded companion website (www.focalpress.com/cw/rea) containing useful forms and information on distributors, grants and financing sources, film and video festivals, film schools, internet sources for short works, and professional associations

Recenzijas

"Producing and Directing the Short Film and Video, Fifth Edition is a practical, accessible and absolutely necessary resource for the aspiring filmmaker; a candid, behind-the-scenes look at filmmaking written by two legendary film school professors."

- Alfonso Gomez-Rejon, Director, American Horror Story; Me and Earl and the Dying Girl

"From cover to cover, Rea and Irving have done a great job of not only updating their seminal book on producing and directing shorts to reflect todays ever-changing production world, but have also reorganized to reflect a more nimble, independent production system. Their use of quotations from a wide range of filmmakers also keeps the text lively and contemporary."

- Larry Engel, DGA, WGAE, Filmmaker and Professor, American University

"A thoughtful and comprehensive guide to all aspects of making a short film. I wish a practical, nuts-and-bolts guide like this had existed when I was a film student."

- Susan Seidelman, Director, Desperately Seeking Susan; Smithereens; Sex in the City; The Electric Company; Stella

Preface: Fifth Edition xv
Acknowledgments xvii
Introduction xix
Internet
xix
Craft versus Art and Collaboration
xix
What Are the Steps?
xx
The Organization of the Book
xx
Producer and Director
xx
The Producer
xxi
The Director
xxi
Six Short Films
xxii
The Filmmakers Speak
xxii
Chapter Breakdowns
xxii
Companion Web Site
xxiii
Timeline
xxv
Part 1 Preproduction 1(238)
1 Script
9(24)
The Creative Producer
9(19)
Developing the Script
9(1)
Animation
10(1)
Do Your Homework
10(1)
What Is a Script?
11(5)
What Does a Script Look Like?
11(1)
Where Do Scripts Come From?
12(3)
How Are Scripts Developed?
15(1)
Workshop Your Idea
16(1)
Basic Guidelines for the Short Form
16(5)
Length
17(1)
The Central Theme
17(1)
Conflict
17(1)
The Basic Conflicts
18(1)
The Dramatic Arc or Spine
18(1)
One Primary Event
19(1)
One Major Character
19(1)
Follow-Through
20(1)
Minimum Back Story
20(1)
Internal Motives, External Action
20(1)
No Talking Heads
21(1)
Images before Words
21(1)
Adaptation
21(4)
Why Adapt?
21(1)
Rights
22(1)
What Is the Story About?
22(1)
Find Your Plot and Characters
22(2)
Make the Internal External
24(1)
Dramatic Expectations
24(1)
What Do You Do Now?
24(1)
General Guidelines for Adaptation
25(1)
True Stories and Events
25(1)
Legalities
25(2)
Rights and Adaptations (Preexisting Material)
25(1)
Noncommercial/Festival Rights
26(1)
Original Material
26(1)
Copyright
26(1)
Collaboration
27(1)
Working with a Writer
27(1)
Rewriting
27(1)
How Do Scripts Affect Budgets?
27(1)
Director
28(4)
Supervising or Performing Rewrites
28(1)
Working with the Writer
28(1)
Director as Storyteller
28(3)
Readings
28(1)
Story Questions
29(1)
Scene Analysis
29(1)
The Shooting Script
29(1)
Documentaries
30(1)
Developing a Web Presence
31(2)
Selecting a Web Master
31(1)
Designing the Interface
31(1)
Key Points
32(1)
2 Finance
33(14)
Producer
33(10)
Raising the Capital
33(1)
Basic Fundraising Problems
33(1)
How Much Money Will You Need?
34(1)
Funding Options
34(3)
Private Investors
35(1)
Fiscal Sponsorship
35(1)
Private Foundation Grants
35(1)
Public Foundation Grants
36(1)
Corporate Sponsorship
36(1)
Bank Loans
36(1)
Personal Savings
36(1)
In-Kind Services and Donations
36(1)
Do Your Research
37(1)
The Prospectus
37(6)
Presentation Is Everything
41(1)
Spending the Money Responsibly
41(1)
The Digital Prospectus
42(1)
General Fundraising Suggestions
42(1)
Student Fundraising Strategies
43(1)
Sources for Students
43(1)
Director
43(1)
Pitching the Project
43(1)
The Elevator Challenge
44(1)
Steps to a Successful Pitch
44(1)
Key Points
44(3)
3 Breakdowns
47(18)
Producer
47(7)
Breaking Down the Script
47(1)
Production Book
47(1)
Proper Script Format
48(1)
Breaking Down the Script
48(5)
Step 1: Breakdowns
49(4)
Step 2: Schedule
53(1)
Step 3: Budget
53(1)
The Digital Producer
53(1)
Director
54(9)
Developing a Shooting Plan
54(2)
Organization Leads to Flexibility
54(2)
Director Breakdowns
56(7)
Know the Script
57(1)
Know the Theme
57(1)
Develop a History for the Main Characters
57(1)
Know What Each Character Wants in the Story
58(1)
Break Down Each Scene into Dramatic Beats
58(1)
Determine a Visual Style for the Story
59(1)
Study the Locations and Rehearse the Actors
60(1)
Settle on Pacing and Tone
60(1)
Workshop Ideas on Video
60(1)
Create Floor Plans and Storyboards
60(2)
Make a Shot List
62(1)
Animation
62(1)
The Final Word
63(1)
Key Points
63(2)
4 Schedule
65(16)
Producer (As Production Manager)
65(12)
Building a Stripboard
65(1)
General Guidelines
65(6)
Fixed Dates
66(1)
Locations
67(1)
Cast
67(1)
Exteriors
68(1)
Night Shooting
68(1)
Continuity of Sequences
69(1)
Shooting Out
69(1)
Child Actors
69(1)
Time of Year
69(1)
Weather
69(1)
Special Effects, Stunts, and Animals
70(1)
Crowd Sequences
70(1)
Special Equipment
70(1)
Turnaround, Setup Time, and Swing Crews
70(1)
Animation
71(1)
Other Considerations
71(1)
Beginning the Schedule
71(1)
Creating the Schedule
71(1)
The First Day
72(1)
Making the Day
72(2)
Keep the Day under 12 Hours!
72(2)
Shooting during Preproduction
74(1)
Animation Lip-Sync
74(1)
Locking the Schedule
74(1)
Call Sheet
75(1)
Scheduling Documentaries
75(1)
Student Scheduling Tips
75(2)
Web Presence for the Project
77(1)
Director
77(1)
Determining the Visual Plan
77(1)
Coverage = Time = Schedule = Budget
78(1)
Contingency Plans for Overages
78(1)
Things Change
78(1)
Key Points
78(3)
5 Budget
81(22)
Director
81(1)
Shooting for the Moon
81(1)
Producer
81(19)
Creating a Budget
81(1)
Script and Budget
82(1)
Who Creates the Budget?
82(1)
Budgeting Software
82(1)
Production Value
82(1)
The Budget Form
83(1)
Above-the-Line Costs
83(5)
001 Script and Rights
84(3)
002 Producer/003 Director
87(1)
004 Cast
87(1)
Below-the-Line Costs
88(7)
Basic Decisions
88(2)
005 Production
90(1)
006 Crew
90(1)
007 Equipment
91(1)
008 Art
92(1)
009 Location
93(1)
010 Film and Lab
94(1)
Postproduction
95(1)
011 Editing
95(1)
012 Sound
95(1)
013 Lab
96(1)
Postproduction Finish Digital
96(2)
014 Office Expenses
97(1)
015 Insurance
97(1)
016 Contingency
97(1)
Petty Cash
97(1)
Beginning the Budget
98(1)
The Budget Process
98(1)
Information Is Power
98(1)
Learn by Doing
99(1)
Student Budgets
99(1)
Key Points
100(3)
6 Crew
103(16)
Director
103(1)
Choosing the Crew
103(1)
Producer
103(14)
Hiring the Crew
103(1)
Who Hires the Crew?
104(1)
When Do You Need a Crew?
104(1)
How Big a Crew Do You Need?
104(1)
The 3-30 Rule
104(1)
Selecting the Crew
105(1)
Attracting the Right People
105(1)
Evaluating Credits
106(1)
Negotiating the Deal
106(1)
Key Crew Members
106(11)
Production Manager
107(1)
Director of Photography
108(2)
The Digital Assistant
110(1)
Art Director (Production Designer)
111(2)
Assistant Director
113(1)
Production Sound Mixer
114(1)
The Digital Imaging Technician
115(1)
Specialty Crew
115(1)
Production Assistant
115(1)
Interns
116(1)
Documentary Crews
116(1)
Hiring an Animator
116(1)
Developing the Right Chemistry
117(1)
Key Points
117(2)
7 Actors
119(22)
Casting
119(1)
Producer
120(6)
The Casting Process
120(1)
Casting Director
120(1)
The Basic Casting Steps
121(4)
Advertise Specific Roles
121(1)
Scout Local Theater Companies
122(1)
Scout Acting Schools
122(1)
Contact State Film Commissions
123(1)
Organize Submitted Head Shots and Resumes
123(1)
Arrange Casting Calls
123(1)
Reader
123(1)
Arrange Callbacks
123(1)
Negotiate with Selected Actors
124(1)
Contracts and Deal Memos
124(1)
Deal with Rejected Actors
125(1)
Added Benefits of Casting
125(1)
Director
126(6)
Auditions
126(1)
Types of Auditions
126(1)
Audition Guidelines
127(4)
Before the Audition
127(1)
Beginning the Audition
127(1)
The Reading
127(1)
Evaluating the Audition
128(1)
Video Operators
129(1)
Callbacks
129(1)
Casting Children
130(1)
Happy Accidents
130(1)
Points to Keep in Mind
131(1)
Casting the Documentary
131(1)
Producer
132(1)
Rehearsal Schedule
132(1)
Director
132(7)
Rehearsals
132(6)
The Goals of Rehearsal
133(1)
Before Rehearsals
133(1)
Developing Mutual Trust
133(1)
Researching the Character
133(1)
Character Arc
134(1)
First Read-Through
134(1)
Develop the Theme
134(1)
Second Read-Through
135(1)
Keep Notes
135(1)
Scene by Scene
135(1)
Staging the Scene
135(1)
Record the Rehearsals
136(1)
Discovering Beats
136(1)
Subtext
137(1)
Pace
137(1)
Improvisation
137(1)
Special Situations
138(1)
Rehearsing with Children
138(1)
Communicating on the Set
138(1)
Interviews
138(1)
Key Points
139(2)
8 Location
141(12)
Director
141(5)
Scouting Locations
141(1)
Aesthetic Concerns versus Practical Limitations
141(1)
Be Flexible
141(2)
The Power of Illusion
143(1)
Identifying the Location
144(2)
Interior or Exterior
144(1)
Day or Night
144(1)
Stage or Practical Location
145(1)
Near or Distant
145(1)
Walk-Throughs
146(1)
Producer
146(5)
Securing Locations
146(1)
Where to Look for Locations
147(1)
Scouting the Locations
147(2)
Lighting
148(1)
Power
148(1)
Sound
148(1)
Green Room and Other Special Areas
148(1)
Safety and Security
149(1)
Proximity
149(1)
Backups
149(1)
Securing the Location
149(4)
Location Contract
149(1)
Location Fee
150(1)
Permits
150(1)
Insurance
150(1)
Communication
150(1)
Transportation
150(1)
Parking
150(1)
Company Moves
151(1)
Catering
151(1)
Key Points
151(2)
9 Art Direction
153(18)
Director
153(5)
Production Design
153(1)
Some History
153(1)
Architect of Illusion
154(1)
Creating a Look
155(1)
How to Define the "Look"
155(1)
Defining the Space with Visual Ideas
156(1)
Communication with the Director of Photography
156(1)
Basic Decisions
156(1)
Locations or Sets
156(1)
Format
157(1)
Black and White versus Color
157(1)
Breakdowns: Listen to the Script
157(1)
Camera Tests
158(1)
Producer
158(12)
Assembling the Team
158(1)
The Art Department
158(1)
Images Can Tell a Story
158(1)
Responsibilities of the Art Department
159(9)
Stages and Locations
159(1)
What Does the Script Require?
159(2)
Set Dressing
161(1)
Duplicate Set Items
162(1)
Props
162(2)
Duplicate Props
164(1)
Weapons
164(1)
Food
165(1)
Wardrobe
165(1)
Consulting the Actors
166(1)
Specialty Garb
167(1)
Duplicate Costumes
167(1)
Consulting the Director of Photography
167(1)
Continuity and Script Time
167(1)
Makeup
167(1)
Special Effects Makeup
168(1)
Hair
168(1)
Animation
168(1)
The Producer's Role
169(1)
Final Walk-Through
170(1)
Key Points
170(1)
10 Camera
171(52)
Director
171(49)
Collaborate
171(1)
Keeping Up with Technology
171(1)
Do Your Homework
172(1)
Style
172(1)
Listen to the Material
172(1)
Documentary
173(1)
Introduce the Camera during Preproduction
173(1)
Consult with the Director of Photography
173(1)
Responsibilities of the Director of Photography
173(3)
In Preproduction
174(1)
In Production
174(1)
Postproduction
174(1)
Camera-Lighting Team
174(1)
Basic Decisions
175(1)
Film Stock
176(4)
Tape-Tapeless
177(1)
Film vs. Video Dynamic Range
177(1)
Use of Color or Black and White
178(1)
How Can Color Be Controlled?
179(1)
Tests
180(1)
The Camera as Storyteller
180(2)
Coverage = Shot List
182(1)
Type of Shot (Traditional Coverage)
183(5)
Staging for the Camera
183(3)
The Frame
186(1)
Composition
186(1)
Depth
187(1)
Drawing the Viewer's Eye
187(1)
Extending the Frame
187(1)
Focus
188(1)
The Shot
188(4)
The Lens
188(1)
The Shot Size
189(1)
Shot Perspectives
190(1)
Point-of-View Shot
190(1)
The Reveal
190(2)
The Fourth Wall
192(1)
Camera Movement
192(4)
Find the Balance
193(1)
One Long Take
193(1)
Creating Camera Movement
193(3)
Shoot with Editing in Mind
196(6)
Continuity
197(1)
Overlapping Action
197(1)
The 180° Rule
198(1)
Crossing the Line
198(1)
Screen Direction in Movement
198(1)
Montage
199(1)
Documentaries
199(1)
Keeping Track
199(1)
Second Unit
199(1)
Specialty Shots
199(1)
Green Screen
199(3)
Integrating Animation
202(1)
Lighting Style
202(3)
Lighting Basics
203(1)
Lighting for Exteriors
203(1)
Lighting for Interiors
204(1)
Lighting with Practicals
204(1)
Lighting for Documentaries
204(1)
Lighting for HD
205(1)
Do It in the Camera or Do It in Post?
205(1)
Broadcast Quality
205(1)
Tricks
205(1)
Poor Man's Process
206(1)
Simple Mattes (for Film Shoots)
206(1)
Night for Day
206(1)
Film
206(4)
Equipment
206(1)
Film Camera
206(1)
Film Formats
207(1)
Aspect Ratio
207(1)
Camera Terms
208(1)
Lighting Package
209(1)
Other Equipment
210(1)
Grip Package
210(1)
Technical Considerations
211(1)
Power
211(1)
Fans
211(1)
Video
211(2)
Video Camera
211(1)
Camcorder
211(1)
The Waveform Monitor and Vectorscope
212(1)
The Monitor
213(1)
The Video Format
213(1)
Frame and Sensor Size
214(1)
Progressive and Interlace Scanning
214(1)
Interlace Factor
215(1)
The Frame Rate
215(1)
George Lucas and 24p
215(1)
How Color Is Recorded
216(1)
Color Systems
216(1)
Color Sampling
217(1)
What Do You Call a Format?
217(1)
The Evolution of Video Formats
217(2)
Standard Definition Analog Formats
218(1)
Standard Definition Digital Formats
218(1)
High Definition Digital Formats
219(1)
Digital Cinema Formats
219(1)
Producer
220(1)
Support
220(3)
Laboratory (If Shooting Film)
220(1)
Rental House
220(1)
Key Points
221(2)
11 Sound
223(16)
Director
223(14)
Recording Clean Tracks
223(1)
Why Getting Good Sound Is So Important
223(1)
The Sound Team
224(2)
Production Sound Mixer
224(1)
Boom Operator
225(1)
Utility Sound Technician
226(1)
The Equipment
226(1)
Microphones
226(1)
Preproduction Planning
226(1)
Site Visit
227(1)
Responsibilities of the Sound Team
227(4)
Dialogue
227(1)
Perspective
227(1)
Consistency in Sound Recording
228(1)
Room Tone
228(1)
Sound Effects
229(1)
Additional Sounds
229(1)
Playback/Music Video
229(1)
Communication on the Set
230(1)
Sound Report
230(1)
Approaches to Recording Sound
231(2)
Boom
231(1)
Overhead Boom
232(1)
Plants/Stash
232(1)
Lavalier
233(1)
Wireless Microphone
233(1)
Variables for Placing Microphones
233(1)
Recording Concerns
234(1)
Pickups
234(1)
Keeping It Clean
235(1)
Guide Tracks
235(1)
Crowd Scenes
235(1)
Digital Video Sound
235(2)
Documentary
236(1)
Additional Sound Information on the Web Site
237(1)
Producer
237(1)
Controlling the Environment
237(1)
Equipment Needs for the Shoot
237(1)
How Big a Sound Package and Crew Do You Need?
238(1)
Low to High Budget
238(1)
Key Points
238(1)
Part II Production 239(34)
12 On Set
243(30)
Art on Set
243(1)
Final Walk-Through
243(1)
Set Procedures
244(3)
The Day of the Shoot
244(1)
Set Dressing
244(1)
Props
245(1)
Wardrobe
246(1)
Makeup
246(1)
Hair
246(1)
Additional Crew
247(1)
Director On Set
247(10)
Inspires
247(1)
Directing Actors
247(1)
The Director as Audience
248(1)
Acting Styles
248(1)
Comedy
249(1)
Understatement
249(1)
Types of Characters
249(3)
Primary Characters
249(1)
Secondary Characters
250(1)
Background Characters
250(1)
Untrained Actors
251(1)
Special Situations
252(1)
Staging for Camera
252(2)
Eye-Line
253(1)
Technical Requirements for the Actor
253(1)
Lenses
253(1)
Hitting Marks
253(1)
Apple Boxes
254(1)
Video Tap
254(1)
Digital Assistant
254(1)
Dailies
255(1)
Tips for Directing
255(2)
Interviewing for Documentaries
255(1)
Interview Questions
256(1)
Director's Disease
256(1)
Producer On Set
257(14)
Accommodating Actors
257(1)
Socializing
257(1)
Guidelines
257(2)
Act as Coordinator
257(1)
Support the Director and the Creative Team
258(1)
Watch the Budget
258(1)
Keep Morale Up
258(1)
Be a Troubleshooter
258(1)
Keep the Production Moving Ahead
259(1)
Proper Wrap Out
259(1)
Keeping Track of the Art Department
259(1)
Cover Sets
260(1)
Wrapping Up
260(1)
Set Protocols
261(1)
Organized Chaos
261(1)
Set Etiquette
261(1)
The Process
261(1)
Call Time
261(1)
On Call
262(1)
Stand-Ins
262(1)
Makeup and Hair
262(1)
Final Staging
262(1)
A Typical Day
262(4)
Camera Moves
266(1)
Shot Procedure
266(1)
Script Supervision
267(1)
Continuity
268(1)
Overlapping Action
269(1)
Slates
269(2)
Slating Procedure
269(2)
Action! Cut!
271(1)
Calling the Shot
271(1)
Key Points
271(6)
Art
271(1)
Director
271(2)
Part III Postproduction 273(94)
13 Pix Postproduction
277(34)
Director
277(28)
The "Final Draft"
277(1)
The Director as Editor
277(1)
The Editor
278(1)
The Editor Speaks
278(1)
The Documentary Editor
278(1)
The Editing Process
278(1)
What Is Editing?
279(1)
Screening the Dailies (Working with an Editor)
279(1)
Shaping the Story
279(2)
The Assembly
279(1)
The Rough Cut
280(1)
Analyzing the Rough Cut
280(1)
Screening for Story
281(1)
Screening for Pacing
281(1)
Electronic Feedback
281(1)
Restructuring the Picture
282(1)
Screening the Second Cut
282(1)
Refining the Story
282(6)
Editing Techniques
282(2)
Speed Is Not Everything
284(2)
Evolution of the Edit
286(1)
Shifts in Tone
286(1)
Pace Is Everything
287(1)
Be Ruthless
287(1)
Locking the Picture
288(1)
Delivering to the Sound Designer/Sound Effects Editor
288(1)
Digital Basics
288(3)
Key Terms
288(1)
SMPTE Timecode
288(1)
Drop and Nondrop Frame Timecode
289(1)
Analog versus Digital
289(1)
Sampling Rate
290(1)
Resolution
290(1)
Digital Compression
291(3)
Compression Methods
292(2)
Working with Digital Data
294(1)
Digital Connections
294(1)
Hard Drive Storage
294(1)
File Formats and Data Exchanges
294(1)
Basic Workflow of a Nonlinear Editing System
295(3)
Basic Nonlinear Interface
295(1)
Basic Terms
295(1)
Storage
296(1)
Monitors
296(1)
Capturing and Organizing Clips
296(1)
Digitizing
297(1)
Setting Color and Audio
297(1)
Organizing Clips
297(1)
Editing Sequences
298(2)
Editing Interface and Time Line
298(1)
Its Only Virtual-Back up Please!
298(1)
Marking and Assembling Clips
299(1)
Adding Clips
299(1)
Removing Clips from a Sequence
299(1)
Trimming Clips
299(1)
Basic Sound Editing
299(1)
Special Digital Video Effects
300(1)
Types of Effects
300(1)
Creating Titles
300(1)
Performing Real-Time versus Rendered Effects
300(1)
Working with Third-Party Graphics Applications
301(1)
Film Match-Back Issues
301(1)
Ending a Session
301(1)
Animation
301(2)
Computer-Generated Images (CGI)
301(2)
Technical Considerations When Editing Film on Video
303(2)
Telecine
303(1)
The 29.97 Complication
303(1)
Video Dailies
304(1)
Producer
305(5)
Advise
305(1)
What You Want from a System?
306(1)
Editing Room
306(1)
Postproduction Schedule
306(1)
The HD Workflow
307(1)
Finding an Editor
307(1)
Evaluating Prospective Editors
307(1)
The Editor Speaks
307(2)
Stepping Back and Looking Ahead
309(1)
Key Points
310(1)
14 Sound Postproduction
311(24)
Director
311(22)
Sound Design
311(5)
Some History
311(1)
What Is Sound Design?
312(1)
Respect for Sound
312(1)
How We Perceive Sound Versus Picture
312(1)
Sound Equals Space
313(1)
Sound Expands the Frame
313(1)
What Is a Soundtrack?
313(1)
The Design of Sound
314(1)
Do You Need a Sound Designer?
315(1)
Post Flow Options
315(1)
Projects Shot on Digital Video
315(1)
Projects Shot on Film
315(1)
The Digital Audio Workstation
316(1)
Creating the Soundtrack
316(4)
The Workflow
316(1)
Spotting
316(1)
Dialogue Tracks
317(1)
Editing Dialogue
318(1)
Automatic Dialogue Replacement (ADR)
318(1)
ADR Spotting
319(1)
Walla
319(1)
Voice-Overs and Narration
319(1)
Refining the Narration
320(1)
Sound Effects Tracks
320(3)
Unique or Enhanced Sounds
322(1)
Music Tracks
322(1)
Function
323(1)
The Impact of Music
323(6)
The Music Team
324(1)
The Original Score
325(1)
Music Spotting
326(1)
The Music Editor
326(1)
Working with a Composer
326(2)
Preexisting Music
328(1)
The Mix
328(1)
Different Formats
329(4)
Music Tips for Students and Beginners
330(3)
Producer
333(1)
Supervising Postproduction
333(1)
...And Distributors
334(1)
The Moral
334(1)
Key Points
334(1)
15 Finishing/Online/Laboratory
335(14)
Producer
335(1)
Keeping Track
335(1)
Director
336(10)
The Finished Look
336(1)
Nonlinear Online Edit
336(1)
Color Correction
337(1)
Basic Workflows
337(1)
Film-to-Film Workflow
338(1)
Opticals
338(2)
Timing
339(1)
Cutting the Negative
340(1)
Optical Track
340(1)
Types of Prints
340(1)
Mute Print
340(1)
First Trial
340(1)
Answer Print
340(1)
Release Print
341(1)
Film-Digital-Film Workflow
341(3)
Film Cut Lists
341(1)
24/30 Frame Issues
341(1)
Digital Intermediate
342(1)
DI-Finish in Film
342(2)
Video-to-Film Transfer
344(1)
Systems
344(1)
The Digital-to-Digital Workflow
344(2)
Offline/Online
344(1)
Online Workflow
345(1)
Offline/Online Workflow
345(1)
Animation and CGI: Rendering and Compositing
345(1)
Finishing and Output
346(1)
The Producer
346(3)
Looking Ahead/Key Points
346(3)
16 Distribution/Exhibition
349(18)
Producer
349(12)
Launching the Film
349(1)
Start Early: Have a Plan from the Beginning
350(1)
Your Web Presence
351(1)
The Markets
352(7)
Exhibition
352(3)
YouTube
355(1)
iTunes
355(1)
Online Distribution Sites
355(1)
DVD
355(1)
Television
356(1)
Theatrical Markets
356(1)
Foreign Markets
356(1)
Nontheatrical Markets
356(1)
Educational Market
357(1)
Institutional Market
358(1)
Distribution Options
359(2)
Self-Distribution
359(1)
Distributor
359(2)
Director
361(24)
Publicity
361(3)
Citizen
361(1)
The Lunch Date
362(2)
Crazy Glue
364(1)
Mirror Mirror
364(1)
The Academy Awards
364(3)
Appendix A Script Sample 367(18)
Memory Lane
368(17)
Appendix B Safety Issues 385(8)
Length of a Shoot Day
385(1)
All in a Day's Work
385(1)
On the Road: What You Can Do When You're Tired
385(1)
General Safety Guidelines
385(3)
Attire
386(1)
Special Effects
386(1)
Chemicals and Flammable Materials
386(1)
Set Construction
387(1)
Lighting and Electric
387(1)
Grip/Rigging
387(1)
Lifting and Moving Heavy Objects
388(1)
Ladders and Scaffolds
388(1)
Dollies
388(1)
Grip Trucks
388(1)
Stunts, Prop Weapons, and Pyrotechnics
388(1)
Fire and Pyrotechnics
388(1)
Guns, Knives, and Other Prop Weapons
388(1)
Physical Stunts
388(1)
Filming Stunts in Public
388(1)
Special Effects
389(1)
Motor Vehicles
389(1)
Water Scenes
389(1)
Additional Safety Considerations
389(1)
Light Safely
389(1)
Do You Know What to Look Out For?
389(1)
Electrical Tie-Ins
389(1)
Location Scout
389(1)
Blowing a Fuse
390(1)
Using Gels
390(1)
Set Etiquette
390(1)
Changing Bulbs
390(1)
Additional Concerns
390(1)
Safety in the Studio
390(1)
Lighting Grid
390(1)
Sets and Flats
390(1)
Shooting in Extreme Weather Conditions
391(1)
Extreme Cold
391(1)
Extreme Heat
391(1)
Inclement Weather
391(1)
Using Animals in Film
391(2)
Appendix C Music Clearance and Insurance 393(6)
Music Rights
393(2)
Public Domain and Fair Use
393(1)
The Process of Licensing Music
394(1)
Insurance
395(6)
Comprehensive Liability
395(1)
Miscellaneous Equipment
395(1)
Third-Party Property Damage Liability
395(1)
Errors and Omissions
395(1)
Cast Insurance
395(1)
Negative Film and Digital Videotape
396(1)
Faulty Stock, Camera, and Processing
396(1)
Props, Sets, and Wardrobe
396(1)
Extra Expense
396(1)
Workers' Compensation
396(1)
Hired, Loaned, or Donated Auto Liability
396(1)
Hired, Loaned, or Donated Auto Physical Damage
396(1)
Guild/Union Travel Accident
396(1)
Office Contents
396(1)
Animal Mortality
397(2)
Appendix D A Short History of the Short Film 399(2)
Appendix E Genres 401(4)
Animation
401(1)
Experimental, Alternative, Avant Garde
401(1)
Corporate
402(1)
Commercials
402(1)
Music Videos
403(2)
Appendix F Screening List 405(6)
Short Films Showcased in the 5th Edition
405(1)
Collections
405(1)
Early Shorts by Well-Known Filmmakers
406(1)
Documentaries
406(1)
Experimental/Avant Garde/Poetic
407(1)
Animation
407(1)
Classic Shorts
408(3)
Appendix G Film and Media Programs 411(6)
Programs
411(1)
References
412(5)
United States and Canada
413(1)
International
414(3)
Appendix H Where Are They Now? 417(8)
Adam Davidson, The Lunch Date
417(1)
Jan Krawitz, Mirror Mirror
418(2)
Tatia Rosenthal, Crazy Glue
420(1)
James Darling, Citizen
421(1)
Jim Taylor, Memory Lane
421(2)
Luke Matheny, God of Love
423(2)
Glossary 425(22)
Bibliography/Software/Internet 447(6)
Index 453
David K. Irving is an Associate Professor of the Undergraduate Film and Television Department at New York University, Tisch School of the Arts. He has directed six feature films, fifteen award-winning short documentaries, three short narrative films, and has written and produced three feature films.

Peter Rea is an Associate Professor of the Undergraduate Film and Television Department at New York University, Tisch School of the Arts. He has been a producer, cinematographer, editor, production manager, and postproduction supervisor on numerous short films, TV movies, and features.