30-Second Storyteller The Art and Business of Directing Commercials

ISBN-10: 1598632264
ISBN-13: 9781598632262
Edition: 2006
List price: $34.00
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Description: Imagine a job where you need to work only 10 days a year to make $100,000. A job that allows you to be a respected artist, a savvy craftsman, and a hip partygoer who hangs out with celebrities, superstars, and top models. No need to wear a tie and  More...

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Book details

List price: $34.00
Copyright year: 2006
Publisher: Course Technology
Publication date: 6/8/2006
Binding: Paperback
Pages: 320
Size: 6.00" wide x 9.00" long x 1.00" tall
Weight: 1.298
Language: English

Imagine a job where you need to work only 10 days a year to make $100,000. A job that allows you to be a respected artist, a savvy craftsman, and a hip partygoer who hangs out with celebrities, superstars, and top models. No need to wear a tie and suit. No corporate office hours, and no supervising department heads checking your time card. At your command explosions occur, cars crash, helicopters swoop, and you are expected to spend a million dollars in a week or two. This job exists. It?s called a commercial director, the creative mind behind the production of a TV spot. While being a commercial director may be one of the coolest jobs in the world, it?s also one of the toughest jobs to get (and keep). The 30-Second Storyteller: The Art and Business of Directing Commercials teaches any filmmaker how to get work as a commercial director, how to navigate the pitfalls of production, and how to get clients to keep coming back to you for more. The book is not a textbook on directing?plenty of other books cover that. Rather, The 30-Second Storyteller focuses on directorial challenges specifically related to creating a TV spot?the techniques involved, the technologies of choice, and the obstacles that come between you and a successful career. It begins by teaching you how to get your foot in the door?creating a spec reel, picking a specialty, getting signed with a production company, and successfully bidding for projects. It then covers the production of a commercial from preproduction through the shoot, all the way to finishing in post-production. Examples from a real-world commercial are utilized throughout to illustrate concepts. The book concludes with advice on obtaining work abroad, and making the jump from commercials to features, as TV ads are a training ground for Hollywood?s next blockbuster director. Filmmakers like Ridley Scott, Michael Bay, David Fincher, Jonathan Glazer, Tarsem and Zack Snyder have all gotten their start in the 30-second world.

Introduction
The Commercial Director's World
What Does a Commercial Director Do?
How Is a Commercial Made?
The Ad Agency's Role
The Agency Staff
Production and Post Production
The Specializations
Survival of the Specialized
The Director's Relationship with a Production Company
Breaking into Commercials
Creating a Spec Reel
It's All About the Idea
Brand Yourself
Shoot the Same Commercial-Again and Again
Stay Away from Variety
Budget Concerns
A Few No-Brainers
Contacting Production Companies
Into the Lion's Den
Signing, and What to Look For
I'm Signed-Now What Do I Do?
Getting the Job
The Boards Come In-Now What?
Your First Look at the Board
Nuts-and-Bolts Stuff
Pages Formatted Like a Movie Script
An Agency Template with Two Columns
Storyboards with Frames
Animatic
What Is Copy?
Pack Shot
Super
Treatment
The Conference Call
The Treatment
The Appearance
The Content
Title Page
Concept
Story
Notes
Look
Sound
Casting
Technical Considerations
Locations
Copyright
Budget
The Waiting Game
Director's Prep
Shot List
Beats
Editing in Advance
Shooting Board
Preproduction
Casting
Crew
Producer
Assistant Director
Director of Photography
Production Designer
Location
Stage
Real Locations
Production Design
Wardrobe
Car Prep
Preproduction Meeting
Take Charge of the Presentation
Tell the Story
Step by Step
Play the Game
Tech Scout
Schedule
Getting the Shot
Concentrate on Your Objective
Discover Your Approach
Find the Moment
The Meat
The Intensity of the Performance
Movement
Transitions
Variations
Various Shot Sizes
Go with the Flow
The Voyeur Cam
Beware o' the Elements
Background Plates
Moving Objects
Different Exposures
Logo Backgrounds
Listen to the Experts
The Atmosphere
Working with the Agency-Dealing with the Client
Know Your Place
Video Village
Never Light According to the Monitor
Less Is More
Roll Tape, Hal
The Attack of the Bad Idea
Be Part of the Solution
Extracurricular Activities
The Director's Cut
The Lab
Push Processing
Pull Processing
Skip Bleach/Bleach Bypass
Dailies
One-Light
Safety One-Light
Transfer All
Let the Editor Have a Look
It's Your Vision
Enter: The Agency
Director's Prep
Telecine
Who Needs an Adjustment?
Nitty-Gritty Telecine
Digital Elements
3D Graphics
2D Graphics
Online Edit
Audio
Location Sound
Music Composing
Sound Design
Dialogue and Voiceover Recording and Re-Recording
Audio Mix
Putting It All Together
The Next Step
The View from Hollywood
International Representation
How to Make International Friends
Cannes You Look at My Reel?
Work the Web
Canada
United Kingdom
Italy
Spain
Germany
Scandinavia
Eastern Europe
Asia
Middle East
South and Central America
Australia/New Zealand
The Interviewees
Joe Murray
Tor Myhren
Matt Tolmach
Kelly Trudell
John van Osdol
Jim Zoolalian
Resources
DGA
AICP
WheresSpot
Shots Magazine
Shoot Magazine
'boards Magazine
Adweek
Advertising Age
Post Magazine
Group 101Spots
FastChannel
AdCritic
Source TV
LA 411 and NY 411
Technology Glossary
Avid
Frozen Moment
Green Screen
Helium Balloons
High Definition (HD)
Motion Capture
Motion Control
Photosonics
Previz
R1 Rig
Remote (Stabilized) Head
Repeatable Heads
Russian Arm
Snorkel Lenses
Swing and Tilt Lenses
Techno Crane
Wire Cam
Commercial Director's Sample Contract
Index

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