Overview

Now available in an updated, 2nd edition,The Complete Guide to Film and Digital Production: The People and The Process, 2/e,discusses the entire production process for film and digital media, and provides you with a comprehensive view of production in the field, at live events, for mobile content and for animation.  This book covers all aspects of the production process and readers learn the nuts and bolts of film and digital production from pre-production through delivery. This edition will make your production experience more marketable to an ever-expanding and converging industry.

Full Product Details

Author:   Lorene Wales
Publisher:   Taylor & Francis Inc
Imprint:   Routledge
Edition:   2nd edition
Dimensions:   Width: 18.70cm , Height: 1.80cm , Length: 23.20cm
Weight:   0.503kg
ISBN:  

9780205078622

ISBN 10:   0205078621
Pages:   320
Publication Date:   26 October 2011
Audience:   College/higher education ,  College/higher education ,  Tertiary & Higher Education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   No Longer Our Product
Availability:   In Print  
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Table of Contents

Preface      xxv PART I PREP AND PRODUCTION              CHAPTER ONE   The Producer’s Job   Pre-Production Production Post-Production   Line Producer Pre-Production Production Post-Production and Wrap   ASSOCIATE PRODUCER ASSISTANT TO THE PRODUCER Qualities of a Good Assistant   ACQUIRING THE SCRIPT   WORKING WITH WRITERS   WORKING WITH FIRST TIME DIRECTORS   PRODUCING IN THE FIELD   PRODUCING LIVE EVENTS   PRODUCING DOCUMENTARY   PRODUCING MOBILE CONTENT   PRODUCING ANIMATION   DISTRIBUTION   SUMMARY CHAPTER TWO Script Breakdown and Scheduling     SCHEDULING A FILM: A STEP-BY-STEP OVERVIEW            THE SCRIPT BREAKDOWN                Electronically–Scheduling Software           By Hand       WHAT ARE THE ELEMENTS?              Speaking Cast (Underline in Red)                Extras/Atmosphere (Underline in Green)    Silent Bits (Underline in Yellow)                 Props (Underline in Lime) and Set Dressing (Underline in Purple)             Wardrobe (Circle the Item)          Makeup (Mark with an Asterisk)   Stunts (Underline in Orange)       Special Effects (Underline in Blue)              Sound Effects (Underline in Brown)            Special Equipment (Draw a Box around the Action)         Vehicles and Animals/Livestock (Underline in Pink)       Music (Underline in Aqua)          OTHER CATEGORIES          Animal Handler            Greenery      Security        Additional Labor          Optical Effects/CGI or Visual Effects         Miscellaneous              Notes            A NOTE ON CONTINUITY               BREAKING THE SCRIPT INTO “EIGHTHS”      THE BREAKDOWN SHEET  THE STRIP OR PRODUCTION BOARD            CREATING A SCHEDULE              SCHEDULING PARAMETERS             Geography   Set                                Cast Members              Day/Night    EXT/INT     Sequence       Children        Time of Year/Climate           Special Effects and Stunts            Second Camera/Second Unit        Special Equipment       PUTTING THE SCHEDULE TOGETHER              SCHEDULES TO PRINT       Shooting Schedule        Production Schedule     One-Liner     Day-out-of-Days         UPDATING YOUR SCHEDULE           Revision Colors            SUMMARY              CHAPTER Three The Budget     BUDGETING SOFTWARE        BUDGET STRUCTURE          Above-the-Line            Below-the-Line (Production)       Post-Production           Total Other          STARTING TO WRITE A BUDGET          Budgeting with Software Packages              Spreadsheet Budgeting             PADDING THE BUDGET       The Contingency            FRINGE BENEFITS                Taxes            Payroll Fees     Employee Benefits       UNION VERSUS NON-UNION            BECOMING SIGNATORY       LOCAL VERSUS DISTANT      BUDGET DISBURSEMENT AND TRACKING           Disbursing Funds         Disbursement Forms    MANAGING THE BUDGET               GOOD BUDGETING VERSUS BAD BUDGETING             BUDGET LINE ITEMS            SUMMARY            CHAPTER four The Production Team and Staff          UNIT PRODUCTION MANAGER        Pre-Production             Production    Post-Production and Wrap          Qualities of a Good UPM            PRODUCTION OFFICE COORDINATOR         Pre-Production             Production    Wrap            Qualities of a Good POC             LOCAL PRODUCTION COORDINATOR         ASSISTANT PRODUCTION OFFICE COORDINATOR     Pre-Production             Production    Wrap            Qualities of a Good APOC          TRAVEL/MOVEMENT           OFFICE PRODUCTION ASSISTANTS                RECEPTIONIST     Qualities of Good PAs and Production Receptionists        HEAD ACCOUNTANT          FIRST ASSISTANT ACCOUNTANT, SECOND ASSISTANT ACCOUNTANT, AND ACCOUNTING APPRENTICE    Qualities of a Good Accounting Staff          TECHNICAL ADVISOR       SCRIPT SUPERVISOR         Pre-Production             Production    Wrap            Qualities of a Good Script Supervisor         SAFETY OFFICER/MANAGER             Qualities of a Good Safety Manager            PRODUCT PLACEMENT      SUMMARY            CHAPTER Five The Production Office   THE PRODUCTION OFFICE               Blocks of Rooms          Ample Office Space     Proximity to Restaurants and Shops           Proximity to Airport    Room Service               Nicer Rooms for Stars            Refrigerators         Parking         Proximity to Locations        Laundry Service           SETTING UP THE OFFICE          Assigning Offices         Making the Office Operational    RUNNING THE PRODUCTION OFFICE             THE MEET-AND-GREET        THE WRAP PARTY               WRAPPING OUT THE PRODUCTION OFFICE                PRODUCTION LISTS           SUMMARY            CHAPTER six The Director’s Team and nd Unit DIRECTOR            Pre-Production             Production    Post-Production           FIRST ASSISTANT DIRECTOR            Pre-Production             Production    Qualities of a Good st AD           THE FIRST ASSISTANT DIRECTOR—DIRECTOR RELATIONSHIP What the st AD Wants from the Director         PRODUCTION MEETINGS            The Concept Meeting  The Big Production Meeting        SECOND ASSISTANT DIRECTOR      Pre-Production             Production    A Note on Directing Extras          Qualities of a Good nd AD          WALKIE-TALKIE ETIQUETTE              SECOND SECOND ASSISTANT DIRECTOR AND/OR DGA TRAINEE           Pre-Production             Production    SET PRODUCTION ASSISTANTS       Pre-Production             Production    Qualities of a Good nd nd’s, DGA Trainees and Set PA’s            DIRECTOR’S ASSISTANT       CHOREOGRAPHER            DIALOGUE COACH/DIALECT COACH           STORYBOARD ARTIST       SET OPERATIONS                Importance of Calling Rolling and Cut         At the End of the Day         CLOSED SET         SET PROTOCOL        THE SET BOX AD PAPERWORK         The Call Sheet              The Production Report            Second Unit     DIRECTOR            UNIT PRODUCTION MANAGER OR PRODUCTION OFFICE COORDINATOR         FIRST ASSISTANT DIRECTOR            LOCATIONS         CAMERA                SOUND  OTHER UNITS       OPERATIONS       EQUIPMENT          PAPERWORK       SUMMARY            CHAPTER SEVEN Casting, Actors, Extras, and Stunt People    CASTING DEPARTMENT      CASTING DIRECTOR          Pre-Production             LOCAL CASTING DIRECTOR            EXTRAS CASTING                CASTING ASSISTANTS       HOW TO RUN A CASTING SESSION           SCREEN TESTS      REHEARSALS AND TRAINING           FITTINGS               WORKING WITH MINORS        Tutors          Working with Parents              WORKING WITH ANIMALS               THE TAFT-HARTLEY             CATEGORIES OF ACTORS                Leads            Supporting Roles         Extras           Silent Bits and Special Ability     Stand-Ins      DAY PLAYERS VERSUS WEEKLY PLAYERS        STUNTS              STUNT COORDINATOR      Pre-Production             Production    Wrap            STUNTPERSON     HOW A STUNT COULD WORK: A CAR ROLL               SUMMARY            CHAPTER EIGHT The Art Department   PRODUCTION DESIGNER          Pre-Production             Production    Wrap            ART DIRECTOR        Pre-Production             Production    Wrap            SET DECORATOR                Pre-Production             Production    Wrap            LEAD MAN AND SWING GANG         ART DEPARTMENT COORDINATOR SET DESIGNER      SET DRESSER        PROPS   Pre-Production             Production    Wrap            ILLUSTRATOR      DRAFTSPERSON            ASSISTANT PROPS              ART DEPARTMENT PRODUCTION ASSISTANTS             ASSISTANT TO PRODUCTION DESIGNER AND ART DIRECTOR CONSTRUCTION COORDINATOR      CONSTRUCTION FOREMAN             CONSTRUCTION LABORers           STANDBY PAINTER              STANDBY GREENSPERSON               OPERATIONS       SUMMARY            CHAPTER NINE The Camera Department       DIRECTOR OF PHOTOGRAPHY       Pre-Production             Production    Wrap            CAMERA OPERATOR          Production    FIRST ASSISTANT CAMERAPERSON                SECOND ASSISTANT CAMERAPERSON          CLAPPER AND LOADER     CAMERA PRODUCTION ASSISTANT               VIDEO ASSIST      STEADICAM OPERATOR    SPECIAL OPERATORS        THE CAMERA PACKAGE    OPERATIONS       STOCK   PROCESSING AND PRINTING           DAILIES                                           BEHIND-THE-SCENES FOR DVD        TESTS     SUMMARY            CHAPTER TEN Grip and Electric        GAFFER              Pre-Production             Production    Wrap            BEST BOY ELECTRIC          ELECTRICIANS/ELECTRICS               GENERATOR OPERATOR             RIGGING CREW            KEY GRIP              Pre-Production             Production    Wrap            BEST BOY GRIP           COMPANY GRIPS               DOLLY GRIP        CRANE OPERATOR             OPERATIONS FOR GRIP AND ELECTRIC        THE GRIP PACKAGE           THE LIGHTING PACKAGE  LAYING DOLLY TRACK     TRUCK WRAP      SUMMARY            CHAPTER ELEVEN The Sound Department          SOUND MIXER      Pre-Production             Production    BOOM OPERATOR             CABLE PULLER/PERSON          SOUND PRODUCTION ASSISTANT        THE SOUND PACKAGE       OPERATIONS       PLAYBACK           SUMMARY            CHAPTER TWELVE Special Effects and Visual Effects      SPECIAL EFFECTS                Creature Design            Creature Manufacturer         Modelers      Miniatures    Remote Vehicles           Miniature Pyrotechnics               Matte Painting             Traveling Matte           Full-Scale Physical Effects           Weather Effects            SPECIAL EFFECTS COORDINATOR OPERATIONS ON SET         VISUAL EFFECTS  VISUAL EFFECTS PRODUCER           OPERATIONS       SUMMARY            CHAPTER THIRTEEN The Wardrobe Department    COSTUME DESIGNER          Pre-Production             Production    Wrap            WARDROBE SUPERVISOR        Pre-Production             Production    Wrap            MEN’S COSTUMER/WOMEN’S COSTUMER        SEAMSTRESS        WARDROBE PRODUCTION ASSISTANT         ASSISTANT TO THE COSTUME DESIGNER        OPERATIONS       OTHER ISSUES     SUMMARY            CHAPTER FOURTEEN Makeup and Hair       KEY MAKEUP        Pre-Production             Production    Wrap            OTHER MAKEUP PERSONNEL           KEY HAIR              Pre-Production             Production    Wrap            ASSISTANT HAIR/ADDITIONAL HAIR/EXTRA HAIR        OPERATIONS       QUALITIES OF A GOOD MAKEUP AND HAIR TEAM           SUMMARY            CHAPTER FIFTEEN Locations        LOCATION MANAGER       Pre-Production             Production    Wrap            ASSISTANT LOCATION MANAGER              LOCATION PRODUCTION ASSISTANT           LOCATION SCOUT–THE PERSON      LOCATION SCOUT–THE EVENT      Location Considerations              THE TECHNICAL SCOUT Location Determinations on a Tech Scout         MAPS     LOCATION SERVICES        SHOOTING ON LOCATION VERSUS IN STUDIO FACILITIES     Advantages of Shooting on Location           Disadvantages of Shooting on Location       Advantages of Shooting in a Studio             Disadvantages of Shooting in a Studio         LOCATION PAPERWORK        Location Agreement     Certificate of Insurance                Permits         SUMMARY            CHAPTER SIXTEEN The Transportation Department        TRANSPORTATION COORDINATOR               Pre-Production             Production    Wrap            TRANSPORTATION CAPTAIN            MORE TRANSPORTATION CREW    QUALITIES OF A GOOD TRANSPORTATION TEAM      OPERATIONS       PICTURE VEHICLES            PRODUCTION VEHICLES          SUMMARY            PART II POST-PRODUCTION        CHAPTER SEVENTEEN Editing Picture and Sound      POST-PRODUCTION SUPERVISOR     EDITOR          ASSISTANT EDITORS SOUND DESIGNER               SOUND EDITOR   DIALOGUE EDITOR             SOUND EFFECTS EDITOR             MUSIC EDITOR    ADR EDITOR         RE-RECORDING MIXERS            LOOPING/ADR     What to Do before the Session    What to Do during the Session    THE SOUND MIX THE POST-PRODUCTION PROCESS                Shooting Film for Release on Film               WORKING WITH THE LAB                NEGATIVE CUTTING            Shooting Digitally MAIN TITLES AND END CREDITS           SUMMARY            CHAPTER EIGHTEEN Music  LICENSING RIGHTS            MUSIC IN THE PUBLIC DOMAIN      MUSIC SUPERVISOR          COMPOSER          MUSIC PACKAGE FEE         CONDUCTOR       ARRANGER/ORCHESTRATOR          COPYIST               THE SCORING SESSION SOUND TRACK ALBUM      SUMMARY            PART III THE REST OF THE STORY        CHAPTER nineteen Contractuals and Other Matters        INSURANCE          Errors and Omissions   Production Package      Cast              Equipment Negative Third Party  Faulty Stock Auto             Money and Securities  Extra Expense                 Worker’s Compensation           COMPLETION BOND          THE LEGAL DEPARTMENT  Why You Should Get a Lawyer       Getting the Right Lawyer            CLEARANCES       RELEASES              CONTRACTS FOR CAST, CREW, AND SERVICES         PUBLICITY            The Unit Publicist        The Still Photographer         PRESS DAY           SUMMARY            CHAPTER TWENTY Miscellaneous     CRAFT SERVICES                THE CRAFT SERVICE PERSON          Pre-Production             Production    Choices for Good Craft Services          CATERING             Hiring Catering Companies          The Last Supper          SET FIRST AID       Emergency Procedures             SET MASsage therapist PRODUCTION ETIQUETTE  UNIONS, GUILDS, AND ASSOCIATIONS        American Society of Composers, Authors, and Publishers (ASCAP)        International Alliance of Theatrical Stage Employees (IATSE)        International Brotherhood of Electrical Workers (IBEW)           National Association of Broadcast Employees and Technicians (NABET)               Casting Society of America (CSA)              Actor’s Equity Association (AEA)             American Federation of Television and Radio Artists (AFTRA)               International Documentary Association (IDA)           Director’s Guild of America (DGA)            Writer’s Guild of America (WGA)              Screen Actor’s Guild (SAG)        Academy of Motion Picture Arts and Sciences (AMPAS)         Academy of Television Arts and Sciences (ATAS)    Producer’s Guild of America (PGA)           American Federation of Musicians (AFM)         The Film Foundation   National Association of Broadcasters (NAB)             American Film Marketing Association (AFMA)        Motion Picture Association of America (MPAA)      SUMMARY            Glossary          Index  

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