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| Introduction | |
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| The Approach | |
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| Work Backward, Not Forward | |
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| Mis en Scene, Dans la Cuisine | |
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| Break It Down | |
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| Build It Up | |
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| What Is Production Value? | |
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| Image Quality | |
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| Sound Quality | |
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| Locations | |
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| Lighting | |
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| Effects | |
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| Stars | |
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| But Seriously, What Is Production Value? | |
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| Don't Make Shots, Make a Movie | |
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| Planning | |
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| Looking for a Producer? | |
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| I Have Bad News for You | |
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| Resources | |
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| A Uniquely Rebel Plan | |
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| Your Script | |
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| Make Waves | |
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| Authenticity | |
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| I Am But a Shadowy Refl ection of You | |
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| Your Storyboards | |
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| Learn to Draw Badly | |
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| Eyelines | |
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| Drawing Through a Lens | |
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| Shoot it, Nerd it, Steal it | |
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| Lines of Action (Big Red Arrows) | |
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| Animatics | |
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| Turning a Storyboard into a Schedule | |
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| Cut 'em and Code 'em | |
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| Binder the Universe Together | |
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| Putting the "Guer" in Guerrilla | |
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| On Asking Permission | |
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| The Pickup Truck Loophole | |
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| Be a Rebel, Not a Jerk | |
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| The Camera on the included DVD Selecting a Camera | |
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| 24p | |
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| HD vs. tSD | |
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| Widescreen | |
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| Wider Screen | |
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| Electronic 16:9 vs. The Real Thing | |
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| 16:9 Adaptor Lenses | |
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| Settings | |
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| Crafting the Digital Negative | |
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| Flatten It Out | |
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| Cinegamma | |
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| Detail, Schmetail! | |
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| Accessories | |
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| Lenses | |
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| Tchotchkes | |
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| Manual Everything! | |
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| Exposure | |
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| White Balance | |
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| Focus | |
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| Shooting | |
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| Making Memorable Shots | |
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| Slow Down | |
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| Think in Thirds | |
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| Make Triangles | |
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| Free Your Mind and Your Camera Will Follow | |
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| Tell the Story | |
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| Moving the Camera | |
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| Sticks | |
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| Dollies | |
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| Slider | |
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| Wheelchairs | |
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| Steady That Cam | |
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| Cranes & Jibs | |
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| Found Cranes | |
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| Playing with Time | |
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| Slow Motion for Me | |
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| Speed Ramping | |
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| Undercranking | |
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| Narrow Shutter | |
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| Hand-Cranking | |
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| Reverse It | |
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| Lighting | |
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| God Is Your Gaffer | |
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| Bounce It or Block It | |
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| Eventually You May Need, Er, Lights | |
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| Effects | |
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| Special Effects vs. Visual Effects | |
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| Realism, Schmealism | |
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| Keep 'em Guessing | |
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| Treat the Fake Like It's Real | |
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| Some Effects Basics | |
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| Reference Is God | |
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| Matching Cameras | |
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| Matching Lighting | |
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| The Blue Screen of Death | |
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| Miniatures | |
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| Scale | |
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| Speed | |
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| Hanging Foreground Miniatures | |
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| Cleveland for Paris | |
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| Matte Paintings for Nonpainters | |
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| Copy Paste | |
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| Virtual Worlds | |
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| POV Shots | |
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| Guns Guns Guns! | |
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| A Little About Real Guns | |
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| The Electric Gun On the included DVD What Guns Do | |
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| Blank-Firing Replicas | |
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| Toys & BB Guns | |
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| Digital Ordnance | |
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| Handling the Guns, Handling the Gun Handlers | |
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| Guns Shoot Things | |
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| Light Fuse and Get Away | |
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| BB Guns | |
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| Blood Hits | |
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| Squib That Which Is Squibable | |
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| 52 Card Pickup | |
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| Digital Squibs | |
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| Tinfoil Bullet Hits | |
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| The (Nearly) Free Blood Hit | |
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| Splitsville | |
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| Stunts | |
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| Avoid Killing Your Friends | |
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| What Professionals? | |
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| Cars | |
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| Editing | |
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| Cut Like a Pro | |
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| Who Shaves the Barber? | |
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| Kill Your Babies | |
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| Manufacturing Reality | |
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| Everything Is Fair Game | |
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| Invisible Cuts | |
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| Pacing | |
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| Do Over | |
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| Sound and Music | |
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| Locking Your Cut | |
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| Prep the Effects | |
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| The Top Ten Percent | |
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| Getting a Handle | |
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| Accounting | |
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| Onlining | |
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| The Rules | |
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| No Mastering in the NLE | |
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| No Recompression | |
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| No 8-Bit Processing | |
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| Be a Pixel Purist | |
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| Getting Your Movie into After Effects | |
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| Color Correction | |
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| Grade in Layers | |
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| Not So Secondary Corrections | |
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| Order of Operations | |
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| Tools of the Trade | |
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| Color Theory | |
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| A Sample Sequence | |
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| Output | |
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| The Digital Master On the included DVD Boom | |
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| Index | |